On The Basis Of Sex [2018] ★★½
“On the basis of sex” dramatizes an important chapter in history when young lawyer Ruth Ginsburg fought hard for equal rights between men and women in 1970. It’s an interesting slice of history, and you couldn’t ask for a better actress to fill in Ginsburg’s shoes. Felicity Jones has already made an impression in such movies as “The Theory Of Everything” and “Rogue One”, and she’s well cast here as the ambitious lawyer who would stop at nothing to achieve equal rights. Her empathetic performance draws us in, along with superb period details that truly make you feel like you’ve been transported to a different era. And yet, there are times where I felt a certain distance from it. And I wish they went with a much more “powerful” finale. No matter. “On the basis of sex”, flaws and all, is a movie that truly matters, and you can see it all on Felicity Jones’ wonderfully expressive face. It’s not a perfect film by any means, but if the subject matter intrigues you, then you should definitely check it out.
I have a confession to make: I was not looking forward to this movie. As much as I love Christian Bale, I never thought I would be interested in a movie about Dick Cheney, the American politician who served as a Vice President of the United States from 2001 to 2009. But as soon as the movie opened, I knew there was something different going on here. If you’re familiar with writer director Adam McKay’s “The Big Short”, then you probably know that he likes to tackle serious subjects with a dose of dark humor that makes it damn near irresistible. Such is the case with “Vice”, a movie that gives you much to think about while laughing yourself silly. McKay is hunting bigger game here, portraying Dick Cheney as a dick (no pun intended) and probably pissing off everyone who was involved in the George W. Bush administration. McKay doesn’t hold his punches, and the movie truly soars as a result. But the real strength of “Vice”, and the reason it must be seen, is Christian Bale. Many great actors have portrayed historical figures and won an Oscar for it. But in a short space of time, Bale makes us forget about prosthetic makeup and persuades us that he is indeed Dick Cheney. He is an ambitious man who craves power and would do anything to get it. One couldn’t ask for a better performance from any screen biography. Kudos to McKay and his collaborators for cooking-up one of the smartest films of 2018. And kudos to Bale for yet another terrific transformation. Oscar or not, “Vice” is a must-see.
Whether it’s in “Pride and Prejudice”, “Atonement” or “The Duchess”, Keira Knightley is always portraying interesting and colorful characters in period pieces. Now with “Colette”, this might be her most important role yet. Director Wash Westmoreland (who did a fine job in “Still Alice”) manages to capture the “grandiose” dreams of Sidonie-Gabrielle Colette, the woman who fought gender roles in the early 1900’s and revolutionized literature. But first, we’re transported to a time when Colette was still a young woman in 1893 Saint-Sauveur, a small village in France. She meets and falls in love with an older man (Dominic West), a Parisian writer who takes her to Paris as soon as they’re married. Soon after, she starts ghostwriting for him, releasing one successful book after the other but taking no credit whatsoever. West tackles the difficult role of a self-destructive man with no redeeming qualities whatsoever, but principal acting honors go to Keira Knighley, who truly becomes Colette and makes us root for her. As someone who loves period pieces and stories about people who made a difference, I immediately warmed to this film. It’s not flawless, but it won me over completely.
I rarely feel the need to defend a movie, but with “Bohemian Rhapsody”, I’m willing to make an exception. Early reviews were far from encouraging, and there’s no denying that the movie feels rushed at first, uneven at times, and doesn’t include all the songs that made “Queen” the band we all know today. Know what? It’s still a pretty damn good movie. I guess when you make a biopic, you can’t always include every single detail, but the essentials are here, from Freddie Mercury’s rise in the early 70’s, to his iconic performance at Live Aid in Wembley in 1985. Director Bryan Singer takes a closer look to what made Freddie (and his band mates) tick in the mid 70’s, especially when they were in the process of producing their greatest hit yet: Bohemian Rhapsody. And you couldn’t ask for a better actor to fill these tricky shoes; Rami Malek is sensational, and probably the main reason to see this biopic. And in a short space of time, he makes us forget that he is acting and persuades us that he is indeed the legendary Freddie Mercury. He is stubborn but vulnerable, and the movie doesn’t shy away from the truth. A key sequence finds him opening up to his band mates right before a major concert about his battle with AIDS. The timing struck me as somewhat odd, but it leads to one of his most iconic performances, and this is where Freddie Mercury shone. It’s one of the main reasons why he is remembered so well, and Malek truly knocks it out of the park.
You’d think a movie about Neil Armstrong, the first man to step on the moon, would be your typical Hollywood blockbuster. That’s where director Damien Chazelle steps in, by making this trip to the moon a personal journey, fueled with superior performances, beautiful cinematography, and a quietly profound score by Justin Hurwitz. Chazelle and Hurwitz worked together before on “
Whether it’s on TV or on the big screen, filmmakers never miss an opportunity to tell a story about Pablo Escobar, the notorious drug lord who rose to fame in the 80’s, before his eventual fall in the early 90’s. From Netlfix’s “Narcos” to last year’s underrated “American Made”, it feels that we’ve seen it all before. But I still hoped that a movie starring Javier Bardem and Penelope Cruz would offer me a fresh perspective about his relationship with Colombian journalist Virginia Valejo, who met Escobar in the early 80’s and “supposedly” fell for him. I say “supposedly” because I’m not sure “Loving Pablo” answers that question. Instead, the movie feels like yet another retelling of Pablo’s life as a drug lord and barely focuses on the love story at all. That being said, there are a few good moments here and there, and it’s always a pleasure to watch these two actors in action. But even they can’t save the script from tossing a lot of balls in the air, making “Love Pablo” strictly a superficial biopic that barely offers anything new. Damn shame.
The Oscar for best actor in a leading role goes to Gary Oldman. His brilliant performance as Prime Minister Winston Churchill is the best, and probably only reason to see this slice of history. Of the movie itself, I can’t say I loved it. I suppose there’s no other way of depicting a history lesson without resorting to endless dialogues. That can be exhausting, especially for a film that clocks in at 2 hours. The year is 1940. Hitler and Nazism were on the rise. “Darkest Hour” refers to a dark time in British history. When Churchill accepted the post of Prime Minister, he had zero support from the people surrounding him. The movie focuses on Churchill’s efforts to win a nation over and show the people that he’s more than capable to win a war. As a history buff, I was more than hooked. But even an avid history fan will have to admit that this one feels a bit dry and uneven at times. What keeps it afloat is the mesmerizing work of its star. Oldman goes beyond mimicry to fully inhabit his character. Director Joe Wright steers him well, but it’s a shame the movie isn’t truly worthy of this sensational performance.
I’ve seen all sorts of biopics, so it’s always refreshing to encounter a new one about a subject I wasn’t familiar with before. I’m talking, of course, about “Goodbye Christopher Robin”, the story behind the creation of one of the most beloved bears of all time: Winnie the Pooh. That such a lovely, heartfelt film could be made at a time where Hollywood is drowning in scandals is a miracle in itself. Yet with honest storytelling and good performances, the movie tells the story of Christopher Robin, whose teddy bear inspired his dad A. A. Milne (Domnhall Gleeson) to write children’s books. It’s so easy to make a straightforward movie out of these events, yet director Simon Curtis gives us something extra special. I found myself completely immersed in the world of young Christopher, and the story offers constant charm as well as a finale that will most likely bring tears to your eyes. If you like a heartwarming biopic as much as I do, then look no further than “Goodbye Christopher Robin. A. A. Milne himself couldn’t have asked for more.
In 1994,Tim Burton took on Ed Wood, one of the worst directors of all time, and turned his story into one of the best movies of the 90’s. Fast forward 9 years and “The Room”, one of the worst films of all time, opens in one theater in LA to disastrous reviews. You don’t need to see this cult turd to appreciate what James Franco has accomplished in “The Disaster Artist”, a masterful film about the making of one of the weirdest phenomena in cinema history. Much like Burton, Franco handles the whole thing as a passion project, so much in fact that he stayed in character while directing the film. And it shows, as he fully embodies the character of Tommy Wiseau, an “ambitious” actor and filmmaker who comes to LA with his new friend Greg Sestero (played by Dave Franco here), to make a movie called “The Room”. And so begins a journey filled with hope and…well…awkward moments. From a hilarious opening sequence that shows Wiseau’s lack of talent to unforgettable moments on set (oh, Hi mark!), “The Disaster Artist” is a constant pleasure. What matters is that the movie pays tribute to an unusual person who had faith in his own ideas even when no one else did. Those qualities are rooted in truth and give the movie its foundation. It doesn’t matter that the end result was catastrophic, the movie has since gained a cult following and is screened every year around the world. Franco and co wanted to honor this “accomplishment”. Needless to say, they’ve succeeded with flying colors. “The Disaster Artist” is one of my favorite movies of the year.
I knew almost nothing about Tonya Harding, the American figure skater who was involved in a national sports scandal back in the 90’s. So it was up to Margot Robbie to give me a reason to care. To say that she succeeds with flying colors would be an understatement. Robbie is simply sensational, as she delivers a fearless and sympathetic portrayal of a young figure skater who rose to fame in the early 90’s, before she found herself being led into dark places by the people around her. Screenwriter Steven Rogers and director Craig Gillespie employ a dark/funny structure, beginning their film with a montage of interviews with the characters in the story, then showing how Tonya began her turbulent journey with her mother (a terrific Allison Janney), and later on with her husband, played by Sebastian Stan. The 1980’s and 1990’s recreation is remarkably good, from the costumes to the details of the Olympic atmosphere. The movie also benefits from a kick-ass soundtrack that will surely satisfy fans of classic rock. There are no weak links in the cast, as everyone gets the chance to shine. Still, this is Margot Robbie’s show all the way, and she brings her character to life with terrific skill, leaving us with much to think about. This, and a dose of humor, make “I, Tonya” a must-see biopic.
Let's Talk About Movies 