Maze Runner: The Death Cure (2018) ☆☆(2/4): The tedious last chapter of the trilogy

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“Maze Runner: The Death Cure”, the last chapter of the trilogy which began with “The Maze Runner” (2014), is a tedious mix of familiar things you can expect from a SF action film set in dystopian world. While “The Maze Runner” (2014) distinguished itself a bit through its curious setting based on its mysterious maze, the subsequent sequel “Maze Runner: The Scorch Trials” (2015) was a letdown in comparison as getting out of that maze and then throwing itself into its rote dystopian world, and “Maze Runner: The Death Cure” only continues that mediocrity without anything good enough to intrigue or engage us during its 142-minute running time.

Without much background explanation, the movie begins at the point not long after the finale of “Maze Runner: The Scorch Trials”, so I give you a brief summary of the previous two films just in case. After managing to escape from their maze in “The Maze Runner”, our young hero Thomas (Dylan O’Brien) and his colleagues came to discover that they were selected by a shady organization called World Catastrophe Killzone Department (WCKD, a.k.a WICKED), which has been trying to develop the cure for a deadly virus plague through a bunch of specifically selected boys and girls. While continuing to run away from WCKD in “Maze Runner: The Scorch Trial”, Thomas and his colleagues fortunately encountered several characters willing to help them, but then they were all ambushed by WCKD due to the betrayal of Teresa (Kaya Scodelario), who came to believe that WCKD is doing the right thing for the world.

Thomas and some of his colleagues managed to avoid being captured by WCKD, and the opening scene of the movie shows them attacking a train which are taking Minho (Ki Hong Lee) and other captured boys and girls to the headquarters of WCKD. While they succeed in rescuing many of these boys and girls despite considerable risk, some of them including Min-ho are still held as captives under WCKD, so Thomas decides to go to the WCKD headquarters for saving Min-ho. Although that may not be a very wise decision considering that, as pointed out by one supporting character in the film, those rescued boys and girls need to be transported to a safer place as soon as possible, he remains adamant nonetheless, and his two friends, Newt (Thomas Brodie-Sangster) and Frypan (Dexter Darden), join him without hesitation.

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Of course, they soon see how perilous their journey is. When they enter a dark tunnel leading to the WCKD headquarters, they instantly come across virus-infected people who are virtually a bunch of, yes, zombie extras. Those virus-infected people in the movie, called ‘Cranks’, surely run fast and scream loudly, but they only remind me that I have been rather tired of zombies during recent years. As a matter of fact, I was not particularly scared while watching the action sequence unfolded in the tunnel, and I merely noted that our heroes are good runners as shown from the previous movies.

After luckily rescued by Jorge (Giancarlo Esposito) and Brenda (Rosa Salazar) in time, Thomas and his friends eventually arrive in the area surrounding the city where the WCKD headquarters is located. The city is surrounded by its huge wall blocking thousands of desperate people living outside the city, and we see how well it is being guarded when an angry mob approaches to the wall from the outside at one point.

There is a possible way for Thomas and his colleagues to sneak into the WCKD headquarters without getting caught, but it depends on how much they can persuade Teresa, who has worked with Dr. Ava Paige (Patricia Clarkson) since she chose to side with WCKD. She still believes that she and Dr. Paige are doing the right thing, but she has also felt guilty about what they have done in the name of greater good, and then there comes a moment when she must make another important choice.

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During the second half, the movie shifts its gear into action mode as expected, and director Wes Ball, who directed two previous films of the series, provides a few solid action scenes including the one involved with a bus and a tower crane, but that does not hide its weak storytelling and its glaring lack of style and personality at all. The main characters in the film are mostly flat on the whole, and their drama is not particularly engaging as often being predictable and contrived. In case of their dystopian world, it feels quite bland and superficial in terms of mood and details, and I became depressed as observing that there is nothing much worthwhile to talk about in the film.

The performers in the movie diligently try to carry the film together, and some of them manage to acquit themselves rather well. While Dylan O’Brien and Kaya Scodelario often struggle with their colorless characters, Thomas Brodie-Sangster and Rosa Salazar manage to leave some impression, and Giancarlo Esposito has some fun with his character as he did in the previous film. As the main bad guy of the film, Aidan Gillen looks as sneaky as required, and Patricia Clarkson is again under-utilized in her thankless role.

While I did not like “The Maze Runner” enough for recommendation, I enjoyed it to some degrees, and I hoped for better things to come next. Unfortunately, “Maze Runner: The Scorch Trial” was several steps down from that, and “Maze Runner: The Death Cure” further squanders whatever is left in this diminishing series. It is not awful at least, but I had to suffer its boredom for more than 2 hours, and I was only consoled by the fact that I watched it for free. Every cloud has a silver lining, isn’t it?

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Lady Bird (2017) ☆☆☆1/2(3.5/4): Precisely funny and effortlessly poignant

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At first, “Lady Bird” looks like another conventional adolescent coming-of-age drama. Again, we have a young heroine eager to go further with her burgeoning life and she surely comes to grow up a lot in the end as being ready for the next chapter of her life, but her bumpy emotional journey is vividly depicted with considerable intimacy and intelligence, and we can only admire how precisely funny the movie is – and how effortlessly poignant it also is.

The movie is mainly about Christine McPherson (Saoirse Ronan), a 17-year-old girl who is a Catholic high school student living in a suburban area of Sacramento, California. As her senior year is being over in 2002, Christine, who has preferred to be called ‘Lady Bird’, hopes to go to any prestigious college far away from her hometown, but the circumstance is not exactly good for her. Her parents do not have enough money for that, and, above all, her headstrong mother Marion (Laurie Metcalf) does not approve of that. She simply wants her daughter to be more practical, but Christine is adamant with her growing hope, and their conflicting relationship is exemplified well by the opening scene of the movie. The mood initially seems jolly as they listen to an audiobook copy of John Steinbeck’s “The Grapes of Wrath”, but then they start to quarrel about Christine’s college matter, and the scene eventually ends with a sudden moment of jolt.

At her school, Christine joins a drama club along with her close friend Julie (Beanie Feldstein). While she is not so pleased to see that she does not get a big part in the upcoming musical performance, she quickly becomes close to Danny (Lucas Hedges, who had a good year thanks to his solid supporting turns in this film and “Three Billboards Outside Ebbing, Missouri” (2017)), and he is soon introduced to her parents when he is going to take her to his grandmother’s house on Thanksgiving Day. As spending more time with him, Christine comes to have some expectation for what may be her first serious romance, but, alas, this nice, earnest boy turns out to be not as suitable as she thought.

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While quite disappointed by this, Christine keeps trying to look cool as before, and that leads her to Jenna (Odeya Rush) and Kyle (Timothée Chalamet, who recently drew lots of attention for his acclaimed breakthrough performance in “Call Me by Your Name” (2017)). As your average sassy rich girl, Jenna is everything Christine is not, and Christine tries to get closer to Jenna as much as she can, but she later experiences a painful moment of humiliation because of her small lie. With his seemingly sophisticated appearance, Kyle looks like a good alternative to Danny, but, not so surprisingly, he turns out to be your typical selfish jerk, and that leads to one of the most humorous moments in the film.

As smoothly moving from one episodic moment to another, the movie lets us emphasize more with Christine’s emotional wandering, but it also recognizes how self-absorbed she can be just like many other teenagers. She is sometimes rather unkind and unpleasant to people around her, and her tumultuous emotions frequently clash with the growing impatience of her mother, who surely loves her daughter but cannot help but be angry and resentful at times.

But things are not always bad between Christine and Marion, and the screenplay by director/writer Greta Gerwig thoughtfully handles their complex mother and daughter relationship. When they are buying clothes for Christine in one scene, they have a brief but undeniably touching conversation, and that is one of the best moments in the film. Like any good mothers, Marion simply wants the best for her daughter, and Christine understands that, though they often do not agree well with each other.

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While their relationship is the center of the story, the movie also pays some attention to its other substantial characters. The scenes between Christine and her father Larry (Tracy Letts) feel warm and tender, and the same thing can be said about a private conversation scene between him and his wife. Their adopted son Miguel (Jordan Rodrigues) and his girlfriend Shelly (Marielle Scott) may look goofy at first, but they are depicted with loving care, and so are several school characters revolving around Christine, who are presented with each own distinctive personality.

The main cast members of the film are impeccable. Saoirse Ronan, who astonished us with her unforgettable performance in “Atonement” (2007) and then impressed us a lot more with a series of stellar acting turns including her recent Oscar-nominated performance in “Brooklyn” (2015), gives another superb performance to remember. While deftly modulating her nuanced performance between comedy and drama, Ronan subtly conveys to us her character’s gradual emotional growth, and that is why the last scene of the movie works with poignant emotional resonance. In case of the supporting performers surrounding her, Laurie Metcalf, who will definitely be Oscar-nominated along with Ronan for this movie late in this month, is commendable as Ronan’s equal acting match, and I also enjoyed how notable veteran performers like Tracy Letts, Lois Smith, and Stephen McKinley Henderson are allowed to have each own moment to shine.

While adolescent coming-of-drama has been a rather common genre, “Lady Bird” brings lots of fresh air to its genre elements, and it is almost perfect in terms of mood, storytelling, and performance. While this is only her first solo work, Gerwig, who has steadily risen since her likable performance in “Greenberg” (2010), shows here another side of her immense talent through her confident handling of story and characters, and I think she will be another interesting American filmmaker to watch. In fact, I am willing to wait for whatever will come next from her.

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I, Tonya (2017) ☆☆☆(3/4): The rise and fall of Tonya Harding

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I could not help but shake my head while watching “I, Tonya”, a darkly funny cautionary tale based on the rise and fall of Tonya Harding. While she might have some right stuffs for being one of the best figure skaters in the world, she had some serious disadvantages from the very beginning, and she also happened to be stuck with wrong kinds of people. While generating lots of black humor from her absurd real-life story, the movie also lets us understand what makes her tick, and we come to emphasize with her to some degrees even while we get good laughs from how she tumbled into her eventual disgrace which will remain with her for the rest of her life.

After introducing Harding and its other main characters one by one through its mockumentary opening scene, the movie goes back to Harding’s early years with her mother LaVona (Allison Janney) in Portland, Oregon. Even when she was four, young Harding, played by McKenna Grace during this part, showed considerable talent in figure skating, LaVona was determined to do anything for her daughter’s success although they were your average poor white trash family. At one point, she forcefully demands a coach to teach her daughter, and then we see how she relentlessly pushes her daughter by any means necessary. For this bitter, abrasive woman, nothing seems to be enough no matter how much her daughter tries, and she is even quite abusive to her daughter in the name of tough love.

This toxic relationship between Harding and her mother is continued even after Harding, who is now played by Maggot Robbie, grows up to be a very good adult professional figure skater. Even when Harding successfully achieves a rare athletic feat in front of many cheering audiences, LaVona does not look that proud or happy, and there is a small acerbic moment showing how much she can go further for ‘motivating’ her daughter.

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Things seem to get better for Harding when she comes across Jeff Gillooly (Sebastian Stan) and then falls in love with this guy, but, alas, it soon turns out that he is no better than LaVona. He is also frequently abusive to her, and she finds herself drawn back to him again and again even though they often violently clash with each other. She eventually leaves him and puts a restraining order on him, but then she gets herself into a very messy situation when he suddenly comes to her residence at one night.

At least, she feels good whenever she throws herself into major figure skating competitions, but she soon gets frustrated as being reminded again and again that she is not exactly someone ‘wholesome’ enough to be the representative of American figure skating. To many competition juries, her rival/colleague Nancy Kerrigan looks a lot more appropriate in comparison, and that undeniable fact certainly exasperates Harding as she keeps receiving lower scores than expected.

After eventually accepting that she needs to be changed for getting to the top, Harding tries hard again, and she also allows Gillooly to come back into her life, but, as some of you already know, that turns out to be her another big mistake. While Harding is preparing for her upcoming competition with Kerrigan at the 1994 US Figure Skating Championships in Detroit, Gillooly and his hapless friend Shawn Eckhardt (Paul Walter Hauser) come to plan something nasty for Harding’s advantage, and, thanks to their stupidity and their equally sloppy associates, that somehow results in that infamous incident on January 6th, 1994.

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Cheerfully gliding along its increasingly absurd and sensational plot, the screenplay by Steven Rogers constantly provides wryly hilarious moments even when the circumstance becomes quite serious for Harding and everyone associated with her, and director Craig Gillespie, who previous made charmingly quirky comedy “Lars and the Real Girl” (2007), did a competent job of maintaining the pungent comic tone of the movie. Although the soundtrack mainly consisting of a number of recognizable pop songs is often a little too blatant, these songs are mostly effective in accentuating the morbid hilarity presented on the screen, and I must confess that I was amused a bit when “How Can You Mend a Broken Heart” was ironically played on the soundtrack during one certain scene.

Gillespie also draws strong performances from his talented main cast members. As the center of the movie, Margot Robbie, who has steadily advanced since her breakout supporting turn in “The Wolf of Wall Street” (2013), gives a compelling comic performance, and this is certainly the best moment to date in her growing career. Besides looking believable in her figure skating scenes, she is also quite engaging to watch as her character goes up and down in her bumpy narrative arc, and she is especially good when her character desperately tries to overcome the scandalous mess virtually swallowing up her life and career. While Allison Janney, who will be Oscar-nominated along with Robbie, is terribly impressive in her barbed supporting performance, Sebastian Shaw, Paul Walter Hauser, Julianne Nicholson, and Bobby Cannavale are also fine in their respective supporting roles, and special mention goes to young performer McKenna Grace, who holds her own small space as young Harding.

While it may make you cringe for good reasons, “I, Tonya” is an entertaining black comedy equipped with a deliciously biting sense of humor and enjoyable performances. Yes, there have already been lots of talks about how truthful the movie is, but, folks, it does not intend to be very truthful right from the start, and I will not deny that I was amused by its irreverent spirit.

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The Florida Project (2017) ☆☆☆1/2(3.5/4): Their young innocence in hard reality

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Full of a vivid, palpable sense of life, “The Florida Project” is simply unforgettable. While constantly recognizing a hard reality surrounding its young heroine and other characters around her, the movie also finds precious moments of joy and happiness as leisurely prancing along with its young heroine, and I admire how it deftly balances itself between innocence and reality, though I have some reservation on its finale which does not work as well as intended in my inconsequential opinion.

The main background of the movie is an area near the Walt Disney World Resort in Florida. In this area, there are a bunch of cheap motels which were originally built for tourists but mainly function instead as the residence of many poor working-class people, and a 6-year-old girl named Moonee (Brooklynn Prince) and her mother Halley (Bria Vinaite) live in one of these motels. Although being virtually unemployable, Halley tries anything for earning the money for paying her rent, so she frequently leaves her young daughter alone, but Moonee does not mind this much because she always has free time to spend with other kids living in her neighborhood.

In Moonee’s unadulterated viewpoint, the world is a constant source of fun and excitement, and that is exemplified well by one amusing scene where she and her friends attempt a small mischief on the car belonging to a middle-aged lady living in a nearby motel. Even when they get noticed by that lady, that does not stop them from having a fun, and they subsequently befriend one of that lady’s granddaughters who have been taken care of by her due to their mother’s absence.

As closely following Moonee and her friends, the movie serves us with a series of funny and joyous moments generated between them. When they are not doing mischiefs around in the motel, they freely go around here and there in the surrounding area, and they often hang around a local ice cream shop for getting free ice cream. At one point later in the story, Moonee takes her new friend to a ‘safari’, and that amusing scene reminds us of how much kids can be imaginative in their innocent state of mind.

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However, the movie also reminds us of how vulnerable and reckless Moonee and her friends are in their small world. There is a subtly creepy scene where they and other kids are approached by a very suspicious old man, and then there is an alarming moment when Moonee and her friends’ seemingly innocent prank in an abandoned condo building leads to a far more serious incident. That incident subsequently affects not only the relationship between Moonee and a boy who is one of her close friends but also the one between Halley and that boy’s mother, who has helped Halley a bit but now comes to distance herself away from Halley because of that incident.

Meanwhile, the situation becomes more difficult for Halley. As getting desperate more than ever, she eventually tries something not allowed in the motel, and that certainly tests the patience of Bobby (Willem Dafoe), the generous manager of the motel who has been kind and compassionate to many residences of his motel as much as he can. He does not want to be mean at all, but then there comes a point where he decides that enough is enough, and he adamantly sticks to his decision.

Although it shifts its gear into melodramatic mode around the finale, the movie never sensationalizes or romanticizes its story and characters, and director/editor/co-writer Sean Baker, who previously impressed us with his notable achievement in “Tangerine” (2015), did a commendable job of mixing raw realism with lyrical elements. Mostly shot on 35mm film via handheld camera, the movie is imbued with a considerable amount of verisimilitude, and that makes us more immersed into the mundane world of its marginalized characters. While steadily maintaining the low-key mood of the movie, Baker and his cinematographer Alexis Zabe occasionally give us some poetic moments shining with natural beauty, and I particularly like a brief but lovely moment when Moonie and her friend looks at something in the sky with their innocent wonderment.

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Under Baker’s skillful direction, Brooklyn Prince and other young performers in the movie give engaging natural performances. As the lively heart of the film, Prince is terrific while effortlessly exuding her character’s brash innocence, and I enjoyed the easy rapport between her and her fellow young performers. Whenever they interact with each other on the screen, there is always spontaneous energy among them, and we gladly go along with that while constantly amused by them.

In case of the adult performers in the film, they also give solid performances on the fringe of the story. As Moonee’s problematic but defiant mother, newcomer Bria Vinaite holds her place well next to her young co-star, and Willem Dafoe, who will garner an Oscar nomination for this film, is surprisingly effective in his against-the-type role. While he certainly draws our attention with his recognizable face right from the beginning, Dafoe ably dials down his usual intense persona, and the result is one of the best performances in his illustrious career full of many interesting acting turns.

By the way, I must tell you that I felt bothered by the finale of the movie. Although I understand well that it is intended as a sort of make-believe moment to resonate with the preceding melodramatic moment, it felt jarring to me in terms of mood and storytelling, and I guess Baker came to care a little too much about his characters.

Nevertheless, there are many good moments to be cherished in “The Florida Project”, and that is more than enough to compensate for its questionable storytelling choice in the end. It is not entirely flawless, but it is still a vibrant slice of life packed with lots of spirit and care, and I think you should not miss this small gem.

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Coco (2017) ☆☆☆1/2(3.5/4): A lovely Mexican fantasy tale from Pixar

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Alternatively enchanting and moving, “Coco” is another lovely work from Pixar Animation Studios. Right from its very first scene, I was instantly charmed by its colorful style and vibrant spirit, and that was just the beginning of more things to enjoy and admire. While observing how it supremely works as a superlative visual experience full of rich cultural details to notice, I also found myself touched a lot by its deceptively simple but undeniably heartfelt drama about life, death, love, and family, and its overall achievement is more than enough to confirm to me that Pixar has lost none of its magic yet.

Its story revolves around a 12-year-old Mexican boy named Miguel Rivera (voiced by Anthony Gonzalez), who has aspired to be a musician like his legendary idol Ernesto de la Cruz (voiced by Benjamin Bratt) but has been hiding his aspiration from his family mainly due to the strong opposition from his grandmother Elena (voiced by Renée Victor). Since Elena’s grandfather left his wife and daughter a long time ago for developing his musician career, music has been strictly forbidden in the Rivera family for many years, and, as shown from a series of comic moments, Elena has diligently stuck to that tradition as the matriarch of her family. She and everyone else in the family expect Miguel to devote himself to their old shoemaking business which was founded by her grandmother, and he has been in fact working as a shoeshine boy in their small town.

Nevertheless, Miguel does not give up his hope of being recognized for his musical talent which has been appreciated only by a stray dog named Dante, and there soon comes a chance he cannot possibly resist. During the town festival held on the Day of the Dead, a Mexican holiday which has always been associated with Malcolm Lowry’s unforgettable alcoholic masterpiece “Under the Volcano” and its 1984 movie adaptation by John Huston in my mind, there will be a music contest which will draw many local musicians, and Miguel is quite eager to compete with them at that contest – especially after accidentally discovering one hidden thing about Elena’s musician grandfather.

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Of course, his determination inevitably clashes with his family, and that only makes him more determined than ever. As he later looks for a guitar to use at the upcoming contest, it soon comes to his mind that there is a precious guitar preserved in de la Cruz’s mausoleum which happens to be right in the middle of the town cemetery, and he decides to borrow it for a while. After breaking into the mausoleum, he tries to play that guitar a bit, but that turns out to be a big mistake. He inadvertently puts himself in the boundary between his world and the realm of the dead, and he is certainly scared as his sight is filled with all those dead people coming to see their living families on the Day of the Dead.

Among those dead people, there are Miguel’s diseased family members, and they take him to their realm for taking care of his trouble. All they will have to do is giving a blessing to Miguel, but then Miguel refuses to follow a condition from Elena’s grandmother Imelda (voiced by Alanna Ubach), and that is how he comes to get involved with some dead guy who may help Miguel if Miguel helps him in exchange. In his spirited voice performance, Gael García Bernal clicks well with his plucky young co-star, and I was especially tickled by his certain humorous scene associated with a famous Mexican artist.

Never overlooking what is seriously being at stake for its young hero, the screenplay by director Lee Unkrich and his co-writers Jason Katz, Matthew Aldrich, and Adrian Molina, who is also the co-director of the film, joyfully bounces from one narrative point to another, and the film impresses us with lots of visual pleasures. While that huge bridge placed between the world of the living and the realm of the dead is definitely the most visually striking element in the film, there are also numerous colorful and humorous details shown from the realm of the dead, and I particularly like how the dead characters in the film are lovingly depicted with considerable individual personalities although they are basically a bunch of walking skeletons.

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Within such a bountiful visual background like this, the family drama inside the story turns out to be more complex and touching than expected. There are some predictable narrative turns, but the film always finds unexpected ways to surprise and entertain us, and everything in the story eventually culminates to a rather modest but powerful moment, which has grown on me since the screening I attended during last evening and, in my inconsequential opinion, wonderfully exemplifies the power of good storytelling.

Like any good films associated with music, “Coco” is supported well by its fabulous soundtrack. While Michael Giacchino’s commendable score ably holds the ground, a number of various songs are effectively performed on the whole, and “Remember Me”, the main song of the film which is composed by Kristen Anderson-Lopez and Robert Lopez, certainly deserves to be remembered for how it is flexibly utilized throughout the film.

As many of notable works from Pixar Animation Studios did before, “Coco” shines with wit and imagination while also distinguishing itself with deft storytelling and sincere drama. While it may not be as great as “Wall-E” (2008) or “Inside Out” (2015), this is indeed another glorious triumph from Pixar, and I am certainly willing to revisit it someday.

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Downsizing (2017) ☆☆(2/4): Let’s get small!

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At first, “Downsizing” starts with an absurd but intriguing science fiction premise. As it keeps its attitude straight during its first act, it gives us a series of nice deadpan moments, and I and other audiences around me had some good laughs while watching these humorous moments. Unfortunately, the movie comes to lose most of its satiric edge while lackadaisically meandering with its rather colorless hero during the rest of the story, and what we ultimately get is another tiresome case of your average American white male coming-of-age drama.

The movie opens with a Norwegian scientist succeeding in developing an innovative technology which surprises everyone around the world when he presents it at an international academic conference five years later. Using some special chemical substance and device, he successfully shrank not only himself but also a group of people including his wife to the degree of 0.0364% without any particular damage to themselves, and everyone quickly becomes interested in the considerable potentials of his technology. Once people get ‘downsized’, they will consume food and resource far less than before, and this may ensure the survival of humanity in the future, which has been more threatened day by day due to increasing global environmental problems and decreasing resources.

When this technology is reported on the media, Paul Safranek (Matt Damon), the occupational therapist of a meat processing factory located in Omaha, Nebraska, is mildly amazed like others around him, but things are changed a lot 10 years later. Downsizing becomes a lot more common than before, and there are several places around the country where those downsized people reside together. When Paul and his wife Audrey (Kristen Wiig) come to his high school reunion party, he is surprised to find that one of his high school friends recently got downsized along with his wife, and that friend enthusiastically tells Paul about how comfortably he and his wife have lived in one of those special places.

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Mainly because they have been struggling with their tight economic circumstance, Paul and Audrey come to consider getting themselves downsized, so they visit the place where that friend and his wife live, and they are surely impressed by its sunny, luxurious environment insulated from the world outside. At one point during their visit, they and other visitors watch an amusing presentation from two downsized characters played by Neil Patrick Harris and Laura Dern, and it is clear from their wryly broad performance that Harris and Dern enjoy every second of their brief scene.

When a financial counselor notifies them that they can actually live far more comfortably than before, Paul and Audrey eventually decide to get themselves downsized, and we soon get another funny scene as watching Paul going through the downsizing process step by step. Once he is anesthetized, his naked body is swiftly handled along with the naked bodies of many other people, and they soon cross the line once their bodies are put together into a big downsizing machine.

Not long after regaining his consciousness in his brave new world, Paul is devastated to learn that his wife changed her mind right before being anesthetized, and he is frustrated to see that there is nothing he can do about that unexpected change. One year later, he reluctantly signs his name on a divorce document, and he continues to feel unhappy although his current economic situation is less desperate than before.

Around that narrative point, the movie begins to spin its wheel while increasingly feeling aimless, and even Matt Damon’s earnest acting is not much of help. While Damon surely fits well to his character, Paul is not a particularly interesting character from the beginning, and the screenplay by director Alexander Payne and his co-writer Jim Taylor does not give us enough reasons for why we should care about Paul’s unhappy status. We may feel sorry for him a bit, but his emotional journey in the film is flat and dull on the whole, and even the rowdy sequence associated with Paul’s hedonistic neighbor played by Christoph Waltz does not help much.

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This narrative problem becomes more glaring when the most interesting character in the film appears later in the story. After having a rough night in his neighbor’s residence, Paul comes across a young Vietnamese cleaner named Ngoc Lan Tran (Hong Chau) in the next morning, and she shows him the other side of his seemingly comfortable world when she takes him to where she and other poor people reside. Although her character initially feels like a broad stereotype, Hong Chau, who previously played one of supporting characters in “Inherent Vice” (2014), imbues her character with a considerable amount of pluck and personality, and you may wonder whether the movie could be more compelling if it were about her character instead of Damon’s character.

The movie subsequently tries a little left turn during the third act, but it does not push its premise any further, and, to make matters worse, it virtually fizzles without any substantial dramatic or comic effect. While Paul surely comes to be enlightened a bit in the end, that is predictable and contrived to say the least, and I only came to observe the ending without much care. I was also quite disappointed to see a group of good performers being under-utilized in their thankless roles in the film, and Kristen Wiig, who can quite funny or touching as shown from her previous films including “Bridesmaids” (2011) and “The Skeleton Twins” (2014), is particularly wasted in her bland functional role.

“Downsizing” is not a total bore at least, but it is a major letdown compared to Payne’s acclaimed works including “Election” (1998), “About Schmidt” (2002), “Sideways” (2004), “The Descendants” (2011), and “Nebraska” (2013). They all can be labeled as American white male coming-of-age drama, but they are equipped with more humor and personality compared to “Downsizing” at least, and I enjoyed and admired them all. I understand that Payne tries something different here, but the overall result is mediocre at best while lazy at worst, and I can only hope that he will soon rebound from this misfire.

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Three Billboards Outside Ebbing, Missouri (2017) ☆☆☆1/2(3.5/4): When she goes further

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“Three Billboards Outside Ebbing, Missouri”, the third feature film from director/writer Martin McDonagh, surprised me in many aspects. Although many of elements in the film often feel disparate or disjointed, the movie somehow works better than expected thanks to its top-notch storytelling and first-rate performance, and I found myself quite involved in how it dexterously shifts its gear among many different modes. I will try to avoid spoilers here as much as I can, but I might ruin your entertainment as describing its plot and characters in the following paragraphs, so I recommend you not to read the rest of my review if you want to enjoy the movie as fully as you can.

The movie opens with its heroine making one decisive action after being frustrated and exasperated for several months. Around seven months ago, a teenager girl was brutally raped and then murdered in a small rural Missourian town named Ebbing, and her mother Mildred Hayes (Frances McDormand) has been bitter and angry due to the lack of any progress in the investigation of her daughter’s murder. She comes to believe that this is due to the incompetence of the local police department headed by Chief Willoughby (Woody Harrelson), so she decides to rent three billboards on a remote road outside the town, and these billboards surely draw lots of attention because of their short but impactful messages directed toward Willoughby.

While certainly not so pleased by this blatant action of hers, Willoughby is not that angry about it because, like many of town people, he understands well how Mildred has been angered and devastated by her daughter’s death. He tries to find a reasonable way to handle this unpleasant circumstance, but it seems there is nothing he can do for persuading her to take away her angry messages. He looks into the case again, but it is very clear that the case is stuck in dead end with no helpful evidence, and Mildred continues to stick to her position adamantly with no intention of stepping back.

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Meanwhile, her billboard causes several other conflicts around her besides the one between her and Willoughby. Her teenage son Robbie (Lucas Hedges, who recently drew our attention via his Oscar-nominated supporting turn in “Manchester by the Sea” (2016)) does not want to be painfully reminded of his sister’s death again, and the relationship between him and Mildred becomes more strained than before. Her abusive ex-husband Charlie (John Hawkes), who left his family for a young woman some years ago, is annoyed by the trouble caused by his ex-wife, and we get an amusingly tumultuous scene when he comes into her house and then argues with her while his girlfriend and their son are around them. As the scene wildly swings from one mood to another, we cannot help but amused due to its sheer absurdity, and the performers in the scene flawlessly handle their sharp dialogue while never missing a beat.

In addition, there are some town people who are pissed about what Mildred has done, and one of them is Jason Dixon (Sam Rockwell), a dim, hotheaded police officer who is also your typical sleazy Southern racist. In contrast to his thoughtful boss, he instantly becomes furious about Mildred’s billboards, and he does not hide hostility at all when he happens to confront her at one point, but she is not someone who can easily be scared. That surely makes him angrier, and there eventually comes a striking moment of violence when he gets himself driven by hate and fury later in the story.

Once his characters are established along with their complex human conflicts during the first half, McDonagh throws a number of dramatic narrative turns into the story, and he effectively jolts us whenever we think we know where his story is going. Like his previous films “In Bruges” (2008) and “Seven Psychopaths” (2012), the movie is packed with a dark, morbid sense of humor, but it is also surprisingly sad and poignant at times, and I can only admire how McDonagh pulls off the ending which is simultaneously ironic and sort of touching.

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The main cast members of the movie are impeccable in their superlative acting. Frances McDormand, who has been always reliable since her debut movie performance in “Blood Simple” (1984), is terrific as a flawed but determined woman who is virtually a force of nature for everyone around her. Mildred is not a very likable heroine, but we come to understand her pain and guilt at least thanks to McDormand’s deft human touches, and she richly deserves to receive an Oscar nomination.

McDonagh surrounds McDormand with a bunch of notable performers, and they are also very good in their respective supporting roles. While Sam Rockwell, who recently won the Golden Globe Award along with McDonagh and McDormand, is the showiest one of the bunch, Woody Harrelson is equally effective in his understated performance, which eventually becomes the sensible moral compass of the film. I was also delighted to see John Hawkes, Lucas Hedges, Abbie Cornish, Clarke Peters, Caleb Landry Jones, Željko Ivanek, and Peter Dinklage having each own juicy moment in the film, and Dinklage shows us again that he is indeed a valuable scene-stealer.

I always enjoy movies which not only can make me keep guessing and but also can make me care, and “Three Billboards Outside Ebbing, Missouri”, which will definitely be one of major contenders at the upcoming Oscar ceremony, is one of such movies. This is quite a compelling mix of drama and black comedy, and I was entertained a lot by its strong performances while also impressed by its precise, confident handling of plot and characters. In short, this is one of best films during this Oscar season, and I am willing to assure you that you will not regret to watch this masterful piece of work.

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After Life (1998) ☆☆☆1/2(3.5/4): Before they go away

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I remember well when I happened to watch Hirokazu Kore-eda’s “After Life” for the first time. I did not expect much when it was shown on TV during one hot Sunday afternoon of 2006, but I became intrigued by its rather plain fantasy premise, and then I found myself touched a lot by its gentle and elegant human drama, which lingered on me for a while along with small precious moments of humanity.

Although the movie is technically a fantasy tale, its mood and background are quite mundane right from its opening scene, where we meet a group of people working in a shabby place located somewhere between our world and hereafter. Their another week has just begun, and now they have to prepare themselves for handling another group of people who are going to spend a week there after their recent death. We soon see these dead people arriving at the foggy front gate of the place one by one, and that visually modest moment is more than enough to remind us of their current status.

Once they all arrive, the dead of this week individually meet their handlers, who officially notify them of their death and then explain to them (and us) what they have to do before going over to the afterlife waiting for them. During three days, each of them has to choose the happiest memory of their life, and then their handlers will make movies based on those chosen memories in question during the following two days. Once everything is ready on Saturday, they will watch that movie together in a screening room, and that will transfer themselves to the eternity of afterlife along with their chosen memory, which will be the only thing they remember about their life before afterlife.

As being interviewed by their handlers, these dead people come to reflect on their respective life. The movie simply looks at them as they talk about their life, but we cannot help but listen to what they say in front of the camera because their scenes brim with a real sense of life on the screen. In fact, many of these dead people are played by non-professional performers, and Kore-eda shot their scenes impromptu as they reminisced about their own lives.

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While we watch the dead in the film, some of them become a little more prominent as being difficult cases for their handlers. In case of a middle-aged guy, he seems to have been so unhappy in his life that he welcomes the oblivion of the eternity to come, and there is the sad irony in what he comes to choose as his happiest memory. In case of a young man, he prefers not to choose because, well, he does not think he lived long enough to experience something to remember forever.

The most poignant case is an old man who comes to feel lots of regret over his life. As going through a stack of video tapes containing his whole life (Don’t ask me how that is possible), he is painfully reminded of how ordinary his life was from the beginning to the end. Nothing was particularly bad for him and his wife who passed away several years ago, but it seems there is nothing worthwhile to be remembered in their mundane life, and there is a bittersweet moment when he gets some consolation from his handler, who turns out to be quite older than he looks on the surface.

In the meantime, the movie lets us get to know a bit more about the handlers. At one point, they wonder whether their work will mean anything in the end, but they continue to work as usual, and they and other people working with them begin to prepare for the shooting in a studio filled with a number of different sets based on those chosen memories. Their rudimentary filmmaking process may look a little silly to you, but they are quite serious about that, and we get several amusing moments as they try to recreate those chosen memories through simple practical means. For example, in case of a piece of memory involved with aviation, they just use pieces of cotton for more vividness, and everyone including the owner of that memory is satisfied with that.

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Later in the story, there comes a surprising moment of revelation associated with one of the handlers, but the movie keeps maintaining its calm, restrained attitude even at that point, and it eventually gives us another hauntingly powerful moment to remember. I admire how effortlessly this moment is presented with considerable emotional effect, and I also appreciate how thoughtfully the movie lets us muse more on our life as its narrative makes a full circle in the end. It is clichéd to say that life goes on, but that is indubitably true for all of us, and the movie movingly reminds us of that.

I must confess that I was quite sleepy when I watched “After Life” again thanks to its recent re-release in South Korea, but, at least, I was glad to see that it is still a wonderful movie as I remembered, and that reminds me of how steady Kore-eda has been in his career with a series of excellent works including “Still Walking” (2008), “I Wish” (2011), “Like Father, Like Son” (2013), and “After the Storm” (2016), which was incidentally one of my best films of 2016. Although I felt less enthusiastic about “Air Doll” (2009) and his latest film “The Third Murder” (2017), they are noteworthy attempts nonetheless, and they also show that he is indeed one of the most interesting filmmakers in our time.

By the way, I remember saying about what I will choose if I happen to be in the situation depicted in “After Life”. It was the afternoon of April 25th, 2010 at a certain Steak ‘n Shake restaurant in Urbana-Champaign, Illinois, and I vividly remember how much I felt happy while spending my last time with my late mentor/friend Roger Ebert and those wonderful cinephile/critic friends I met through him and his famous movie festival. I still think I will choose that moment with no regret or hesitation.

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Jumanji: Welcome to the Jungle (2017) ☆☆☆(3/4): Another game begins…

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There was a time when my taste in movies was rather immature. Around 1995, I became more serious about movies after getting exposed to the works of Alfred Hitchcock, but I also enjoyed some silly Hollywood blockbuster films such as “Independence Day” (1996) and “Starship Troopers” (1997), and I will not deny that I watched those movies more than once at local movie theaters, though I have no particular desire to revisit them as a grown-up with a more, uh, sophisticated taste in movies.

“Jumanji” (1995) was one of such movies, so I did not expect much when I watched the trailer of its sequel “Jumanji: Welcome to the Jungle”, but, to my delight, it turns out to be more entertaining than I expected. While injecting a number of good ideas into its original premise, the movie provides us solid entertainment as bouncing one expected narrative point to another along with its main characters, and it maintains well its sense of fun while never overlooking what is being at stake for its main characters.

In the beginning, the movie opens with that last shot of the previous film. That mysterious board game, named Jumanji, is found by someone again, but it does not draw much attention because board games become too old-fashioned for kids, so it is eventually transformed into a video game card, which instantly intrigues the teenage son of the guy who found it.

After indirectly showing what happens right after that boy begins the game, the movie promptly flashes forward to 20 years later and then introduces its four different main characters one by one: Spencer (Alex Wolff), Fridge (Ser’Darius Blain), Bethany (Madison Iseman), and Martha (Morgan Turner). While Spencer is your average nerdy teenager, Fridge is your typical high school jock, and he has depended on Spencer a lot for getting good grades for being allowed to play in the school football team. While Bethany is one of the most popular girls in the school, Martha is a quintessential loner who does not get along well with others, and she is certainly not someone to draw the attention of a self-absorbed girl like Bethany.

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The early part of the movie is about how these four teenagers happen to be punished together in a way reminiscent of “The Breakfast Club” (1985). While Spencer and Fridge are caught after Spencer writes an essay instead of Fridge, Bethany is sent to the principal’s office for insolently using her smartphone during a class test, and Martha is also sent there after defiantly refusing to participate in her physical education class. They all get detention, and the principal instructs them to work together in a basement room filled with many things including stacks of old magazines.

In the basement room, they find that video game in question, and they are immediately sucked into the game once they choose each own’s game avatar, and they are shocked to find themselves transformed into their respective game avatars. Spencer is changed into a hulking, muscle-bound adventurer named Dr. Smolder Bravestone (Dwayne Johnson), Fridge is turned into Dr. Bravestone’s meek sidekick Franklin “Mouse” Finbar (Kevin Hart), Martha is changed into a sexy female fighter named Ruby Roundhouse (Karen Gillan), and Bethany is turned into, to her horror, a guy named Professor Sheldon “Shelly” Obero (Jack Black).

While trying to get accustomed to their changed status, they gradually get to know the rules of the game. There is a perilous mission they must accomplish for finishing the game and then getting out of it, and each of them has each own ability which may be useful during the following game stages, which are full of dangers including various kinds of lethal animals and an aggressive gang led by Van Pelt (Bobby Cannavale), who is the big bad guy of the game as explained by one of functional game characters in the film.

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The movie keeps things rolling as they move from one game stage to another, and director/co-writer Jake Kasdan, who is the son of Lawrence Kasdan and previously made “Orange County” (2002) and “Walk Hard: The Dewey Cox Story” (2007), balances his movie well between comedy and action. While the movie often becomes a bit too intense, its well-made action sequences are always accompanied with lighthearted spirit, and we are frequently amused even during its most frantic moments. The movie is also peppered with numerous comic touches, and I particularly like the one associated with Finbar’s certain weakness, which turns out to be quite more serious than you may think.

The four main performers of the movie have lots of fun with their respective characters, and each of them has each own moment to shine in the film. While Dwayne Johnson, whose comic talent I have come to appreciate more and more during recent years, deftly goes back and forth between comedy and action, Kevin Hart, whose irrepressible manic comic persona has become sort of endearing to me, has several uproarious moments which will draw some chuckles from you. In case of Jack Black, he gives us wry comic scenes as his character finds himself (or herself, shall we say) attracted to a certain substantial male character played by Nick Jonas, and Karen Gillan is quite funny when her character clumsily tries to be a decoy to distract a couple of goons at one point.

In conclusion, “Jumanji: Welcome to the Jungle” is definitely an improvement over the 1995 film, and I had a lot of good laughs along with the audiences around me when I watched it at last night. Yes, this is indeed one of those typical Hollywood blockbuster products, but it is packed with spirit and humor at least, and I do not regret spending 2 hours on it.

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Good Time (2017) ☆☆☆(3/4): Desperate hours

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What a witless and hapless guy the hero of “Good Time” is. He thinks he can handle his messy situation, but things keep going wrong for him, and he only comes to find himself mired in more panic and desperation. While it is not exactly pleasant to watch this pathetic guy tumbling from one narrative point to another as causing more troubles, the movie works a darkly amusing and electrifying thriller, and it is also firmly anchored by one of the most notable performances of 2017.

In the beginning, we meet a mentally handicapped guy named Nick (Ben Safdie, who is the co-director and co-editor of the movie), who is going through a session with his therapist in a building located somewhere in Manhattan. Their session shows some progress as he mumbles the answers to his therapist’s questions, but then his older brother Connie (Robert Pattinson) suddenly comes into the therapist’s office, and he promptly takes Nick away from the office because he needs his brother for his criminal plan for a better life for them.

Along with Nick, Connie is going to rob a bank, but they turn out to be pretty inept and sloppy. When they come into the bank while wearing a rather silly mask, nobody seems to be alarmed by their appearance, and a bank teller who happens to be confronted by them does not seem to be particularly threatened by them. Not so surprisingly, they find themselves pursued by the police as soon as they leave the bank with money, and Nick is eventually caught by police officers while Connie manages to evade them.

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Because he still has that stolen money, Connie tries to get his brother out of the jail through paying the bond, but the situation turns out to be a lot more difficult than expected. His stolen money is not enough for paying the bond set for Nick, and he needs no less than $10,000. He tries to get a help from his rich girlfriend, but, of course, she cannot help him much, and he becomes more desperate when he learns that his brother is sent to a hospital after being injured in the jail.

The rest of the story focuses on how Connie tries to take care of the situation as much as he can, and I don’t dare to reveal anything to you, but I can tell you instead that I was entertained by how the screenplay by the co-director Josh Safdie and his co-writer Ronald Bronstein, who also edited the film with Ben Safdie, gives us a number of wryly humorous moments. Connie desperately wants to believe that there is still a way out for him and his brother, but it is pretty apparent to us that his fate is already determined especially after one certain narrative point. We accordingly come to observe his plight from the distance, but we are also amused by his unfortunate moments which are a sort of cross between “Dog Day Afternoon” (1975) and “After Hours” (1985).

In addition, the movie is drenched in stylish touches to accentuate its hero’s urgent circumstance. Cinematographer Sean Price Williams did a solid job of establishing the nightmarish atmosphere on the screen through the effective utilization of lights and shadows, and I especially admired a visually striking sequence unfolded in an empty amusement park later in the movie. Whenever it is played on the soundtrack, the pulsating electronic score by Oneohtrix Point Never, which deservedly received the soundtrack award at the Cannes Film Festival early in last year, instantly dials up the level of tension, and its aggressive style may remind you of those synthesizer scores of John Carpenter’s films.

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Like many similar thrillers, the movie depends a lot on its lead performer, and Robert Pattinson shows here that, like Kristen Stewart, he is too talented to be associated forever with Twilight movies. As Stewart have done during recent years, Pattison has put himself in a number of more respectable films, and the result has been so far successful enough to distance himself away from Twilight films. While I did not like David Cronenberg’s “Cosmopolitan” (2012), he was suitably cast as its superficial hero, and his performance was surely one of its few admirable elements. In case of James Gray’s “The Lost City of Z” (2016), he completely immersed himself into his supporting character, and I appreciated how he aptly supported his co-star Charlie Hunnam while never drawing attention to himself.

In “Good Time”, Pattinson is as intense and dogged as required while looking as plain and shabby as demanded. As the camera frequently focuses on his face, he constantly holds our interest while ably conveying to us his character’s increasingly frantic state of mind, and he is especially wonderful during several tense scenes where his character has to think and act as fast as he can. When the movie eventually arrives at the expected finale, the camera merely looks at his face, but that is more than enough to generate an intended dramatic effect, and I would not complain if the movie ended there instead of going a bit further with the following epilogue scene.

Pattinson is supported well by a group of supporting performers, who fill their functional roles as much as they can. While Ben Safdie mostly acquits himself well in his rather stereotype role, Jennifer Jason Leigh has a brief juicy moment early in the film, and Taliah Webster, Buddy Duress, and Barkhad Abdi are also fine as the substantial parts of the movie.

Overall, “Good Time” sometimes feels like a cold exercise in style, but it is at least slick and efficient enough to engage me, and that nervous energy of Pattinson’s performance is something worthwhile to appreciate. Along with “The Lost City of Z”, the movie fully convinces me that he is a good actor to watch, and that is a considerable achievement in my trivial opinion.

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