michaeljohnson-27597 Reviews

Nomadland (2020)

'Nomadland' Review: An authentic, heartfelt piece of Americana - (TIFF 20)

[7/10 · 27 September 2020]

Sometimes it takes an outside viewpoint to give us true perspective. We don't really know ourselves until someone pulls back the veil and shows us our true selves, and often... we don't like what they show us.

It took a gifted filmmaker, who also happens to be a Chinese National to once again show North-Americans a little nugget of our history that we might not know about, but also might not enjoy hearing.

Chloe Zhao, who is set to tackle Marvel's Eternals next year is one of the most subtle and grounded filmmakers of this generation, but she is also an impeccable story teller, and she relies not on large budgets or huge Hollywood names to tell these stories, she relies on authenticity and human connection. The juxtaposition of going from her small, personal stories to the Marvel Cinematic Universe needs to be addressed; it's akin to helping with your cousin's taxes for years, and then suddenly being asked to head a Fortune-500 company.

Zhao's Nomadland, based on the novel by Jessica Bruder is the story of a forgotten part of the Boomer generation. There are those in their 50s, 60s and perhaps older who just can't afford to retire. They need to work to survive, and they need to keep moving to work. These Boomers are lost because the little industrial-driven towns they've lived in for years weren't meant for the modern world filled with those aforementioned Fortune 500 companies. Mines shut down, mills shut down, factories shut down, and it ends up killing their town.

The film itself is basically a documentary, which is no surprise to anyone who has seen Zhao's previous work, most notably 'The Rider' in 2017. Zhao finds authenticity in using real people, not actors, and the stories they tell... are their stories. There's very little fiction in these films, which once again lends itself to the realness.

Casting the only two actors in the entire film, the brilliant Francis McDormand as the main character Fern, and the equally brilliant David Strathairn, seems to be Zhao dipping her toes into the enormous sea she's about to dive into with Marvel. The two performances, however, are unlike anything these two actors have done before. They are almost non-existent in this film, and that should be taken with every ounce of positivity. They are not McDormand and Strathairn, they are Fern and Dave, and sadly, these characters are lost members of their generation, but certainly not lost on the audience even if they take a 'backseat' to the message of the film. The actors blend into the roles so beautifully, they seem like you've probably passed them a million times without noticing. McDormand even took embodying Fern to a fantastic level of commitment by working, sometimes for months, in the odd jobs that Fern has to work throughout her journey. There is nothing but legitimacy to every action McDormand performs, and every choice Fern makes. You believe everything.

This is such a brilliant way to use these actors, because, ultimately... it is not their story. It's so rare you have a film where the characters are both 'moot' and yet compelling. This speaks to Zhao's ability to tell a story using all the tools at her disposal, and sometimes that means your character or your Academy-Award winning actors step back and let everything else in the film do the talking. Using the real 'Nomads' in the film, rather than actors, once again just adds that previously mentioned legitimacy. The feel of the film can be a little surreal, as it does feel part fact and part fiction, but it is unlike so many films out there because of it's focus on true experience rather than spectacle or imagination. What is truly surreal is how Zhao can find such a unique balance in everything she creates, it is a deft touch that very few filmmakers have.

The only real downside to the film is that it isn't overly imaginative when it comes to conveying the story. This fits with Zhao's focus on realism, but the cinematography and story beats were all quite safe. There was no flair, which can make the story drag a little. The uncompromising performance of McDormand and the heart of the story is what drives it. It will be extremely interesting to see what Zhao does with Eternals, which will ironically could a very formulaic story that will require much more filmmaking flair.

Nomadland, as mentioned, is unlike so many films out there because of its uncompromising nature. There is nary another filmmaker out there with the type of laser like focus of Chloe Zhao. The story itself may be specifically about one generation, but because of the amazing connection to its characters, and the empathy Zhao and McDormand craft, it will speak to anyone who has felt they were a part of a lost generation. And that... is the largest cinematic universe.

Nomadland is scheduled to have a wider (yet probably limited) release December 4 2020.

Grade: (B)

Outlaw King (2018)

Arguably the best Netflix movie so far... but what's that worth?

[7/10 · 8 November 2018]

I had the opportunity to see this at TIFF this September, and from what I hear, director David Mackenzie then cut the film down by more than 20 minutes (after the feedback of the TIFF audiences, and his own artistic instincts)

This film had to have been a passion project for Mackenzie, because he had to know this story, this version anyway, would be forever compared to Braveheart. It's inevitable. However, I was surprised that Mackenzie, a man who brought us the amazing, Academy award nominated Hell or High Water, also brought us Outlaw King, as the film was pummelled with hopelessness. There is a tiny bit of humour, there is a tiny bit of heart, but it became a long road of suffering, and that's even compared to the tragic ending of Braveheart.

I wish it had more of the same mix of life and drama that Hell or High Water had.

Widows (2018)

My most disappointing film at TIFF 2018...

[6/10 · 1 October 2018]

I'm reminded of an interesting experience four years ago, at TIFF 2014. Over-hearing what some people were saying online on film forums, and in line waiting for Antoine Fuqua's The Equalizer, many were discussing "Is this a Festival film?".

It was arguably the most elitist thing I've heard about a film (and I've been to film school, where elitists thrive) because I always thought of film as something that engages everyone, and festivals are an amazing way to create awareness and engagement from the casual film-goer to those aforementioned elitists.

Why Director Steve McQueen's Widows reminded me of this experience is because the two films, on the surface, have much in common. Both Fuqua and McQueen enjoyed tremendous critical success with some of their previous films, even directing actors to Oscar-winning roles. Both men are a strong proponent of this generations' growing diversification in terms of directors; mentors to help young minority filmmakers find their own voice. Both men, when releasing these respected films in the Equalizer and Widows, based the films off an older television show, and created films that have much more of an action or thriller atmosphere than their previous resume.

And both, in my opinion, played it safe.

When I reviewed The Equalizer, I thought it unfortunately fell back on action movie tropes and convenience; that Fuqua, who had pushed the boundaries of drama and action before, didn't take any chances. McQueen, sadly, took a page out of that book with Widows.

The story follows four women, lead by Veronica (the amazing Viola Davis) who come together after Veronica's husband, Harry (Liam Neeson) and his crew of criminals are killed during a heist. Veronica then gathers most of the widows as they need to pull off another job to help settle things in their life, and with an angered gang leader, who was the individual Harry robbed. 1.jpg If Davis and Neeson aren't enough of a draw for you (and they should be, as they most definitely carry the film) then might I add that this is one of the greatest ensembles put together I have seen in a long time. Icons like Robert Duvall, big names like Colin Farrell, new stars like Elizabeth Debicki and Daniel Kaluuya, action mavens like Michelle Rodriguez, and some of the best actors television has offered in recent memory with names like Jon Bernthal (Walking Dead, Punisher), Carrie Coon (Fargo) and Brian Tyree Henry (Atlanta). This was the draw for me. I couldn't believe what a collective McQueen had assembled.

I can only assume they believed in the project, however, after viewing the film, I no longer believe. I felt so many of the characters were stereotypes, archetypes or any other kind of type. Tom Mulligan (Duvall) and Jatemme Mannin (Kaluuya) stuck out the most. Both characters, who were antagonists were simply there to be hated, and in every way did McQueen play up the villainous tropes. Mulligan was just a mean-old-coot with all the characteristics we've come to hate about this burgeoning America; he was rich, white, racist and politically corrupt. A subtle comment on social equality and today's western world? Perhaps... but not that subtle. His character didn't even completely seem necessary. Jack Mulligan, his son (played by Colin Farrell) was the more interesting and layered character, caught between his father's crimes, his hatred for his father, yet still pushing to maintain the legacy and safety his family has built. If you removed the older Mulligan, the film would have remained pretty much the same which is a true waste of Duvall's talents. Kaluuya, who broke out in last years' Get Out was the biggest waste. His Jatemme was another character that could have either been amalgamated or cut completely. While the character had almost nothing to give a solid actor like Kaluuya, I even found the way he was played was too over-the-top villainous, throwing paraplegics from wheelchairs and killing without reason or remorse.

There were several aspects of the cast I was excited about, yet ultimately disappointed with. I was excited about Bernthal and Coon, but they're barely in the film. Even Neeson has very limited screen time, his role mostly comprised of flashbacks. Debicki is another gifted actor whose character was not given enough time or development to give the actor a chance. I would dare say that with the exception of Davis (again) almost all of the characters were one-dimensional.

Without Davis' Veronica, there is almost no one or nothing to latch onto in the story, (This may in fact be one of the downfalls of such a large ensemble and such an ambitious story). Luckily with Davis at the helm, steering this otherwise sinking ship, you can at least enjoy another powerful performance by this seasoned and award-winning actor. Veronica also represents the main point of the film, which is McQueen's focus on creating strong female characters. The Widows are in fact quite strong, one way or another, many of. I think with more time and a better rounded script, they could have all shown that. Sadly, once again, it seemed like the easy answer was to show physical prowess instead of inner strength or intellect; showing how fast Cynthia Erivo's Belle can run, showing Michelle Rodriguez's trademark Latina attitude, or showing Viola Davis' impressive musculature. Davis was the only character who on more than one occasion showed true inner strength and intellect, as she was not only capable of being Harry's equal in terms of planning and leading a heist, but perhaps even out-doing him.

Yet that subtext falls flat in many of the other characters. McQueen and his co-writer Gillian Flynn constantly attempt to show strength in these women, but fall just short. They constantly try to convey other sub-textual elements like the class war, or the way men treat women, but again, fall short. They merely introduce concepts and perhaps give them one other small moment within the film, but I never found any theme truly woven throughout the story. The element that was the biggest disappointment to me wasn't McQueen's direction, it was Flynn's writing - I was enamored with Gone Girl (ironically also released in 2014) as I thought the development, the twists, and ironically again, the breadth of strong female characters was near perfect.

For Flynn to be so near-perfect in her previous screenwriting endeavor, to create such intrigue, to masterfully reveal twists, and to develop the depth of character she did makes this endeavor that much more disappointing. Granted, she was adapting her own novel at the time, but she certainly has the writing talent and the tools available to have made Widows something special, or exhilarating, but instead it falls flat in every respect. The so-called twists especially were completely wasted. Mid way through the film, there is a major revelation that could have taken the story in so many different directions, and yet, once again, it went in the safest route possible.

Everything about Widows whispered "missed opportunity" to me, and I call it a whisper because the experience of viewing it was akin to waiting quietly, patiently, but then ultimately realizing my expectations were never going to be fulfilled. While the film starts with some intrigue and excitement, it becomes more and more predictable. The conclusion has been seen several times before in one iteration or another, and especially after the conclusion, I realized there were several plot holes and that my suspension of disbelief for some of the cinematic convenience had been stretched too thin over too much time. You may think I'm simply being too overly critical (even for a guy who has a job title with 'critic' in it), but the fact is, there were reactions from my fellow audience members that were inexplicably inappropriate. There were several moments where I'm positive the scene was projected to be dramatic or sad, but some TIFF goers were laughing. That's a serious issue that goes past someone's terrible individual sense of humor, that's a failure of the director and the actors to convey the intended tone and emotion.

You can't argue that a film like Widows, with its pedigree of direction, writing and one of the most impressive casts recruited is a Festival Film. Having seen the packed house at TIFF, you also can't argue that it will have thousands of fans clamoring to see it in theaters. What I can argue is whether it is the film it could have been. Flynn could have written a much tauter thriller. McQueen could have balanced the characters and pace of the film better. The actors could have tried to create more depth rather than surface level tropes. The potential with this group of artists far exceeds what was actually presented, but more importantly, so much of the movie has been done before. This goes beyond simply remaking a television show, but telling the story in a cinematic manner that is neither original nor inspired. I merely felt with all the talent this film had going in, what came out of it made Widows my most disappointing film at TIFF this year.

Green Book (2018)

Won the People's choice award at TIFF, and it will win you over too!

[9/10 · 1 October 2018]

It's frightening to think how far we came (past tense) and how far we've regressed when it comes to something like social equality. Many people would agree that Western, perhaps even Global culture has been regressing when it comes to acceptance and racial relations.

To say that Green Book, a story about racial relations and acceptance (or lack thereof) is strangely topical, is also an oversimplification. What might be more strange however, isn't the timing of the film's release, or the fact that a story taking place in early 1960's America is contemporary, is the fact that the latest cinematic voice, the newest artist to reintroduce concepts like love and acceptance (concepts Mortensen said are "lost track of a lot these days" in the Q & A session after my TIFF screening of the film) ...is Peter Farrelly. Yes, that Peter Farrelly; the one who countless times teamed up with his brother to bring us trendy comedy classics like Dumb & Dumber, Me Myself & Irene, and There's Something About Mary.

Green Book follows the story of a working class Italian-American, Tony Lip (Viggo Moretensen) who, after losing work as a bouncer, finds himself working for Dr. Don Shirley (Mahershala Ali), an African-American classical pianist on tour through the deep South of 1960's America. The two are the archetypal odd-couple, with Dr. Shirley being scholarly, fastidious and composed and Tony being what would seem to be an Italian-American cinematic stereotype; tough, loud, and brash.

While we may not associate either of the Farrelly brothers with drama, audiences lately haven't associated them with comedy either. Recent releases such as Dumb & Dumber To, The Three Stooges, Hall Pass, even as far back as Fever Pitch had neither audiences nor critics waiting for the next Farrelly project. That changed for me personally when I discovered Green Book, and discovered that not only is Peter turning to more dramatic subject matter, but that his brother isn't a part of the project at all.

"My answer was always 'when it happens'. I never planned what was going to be next, it was just a thing the universe brought you, dropped in your lap, it would be like planning when you're going to fall in love, you never know when it's going to happen" Farrelly told the audience at TIFF that he didn't actively seek out this project, it came up very organically, and that when he heard co-writer Brian Hayes Currie talk about the film, he knew it was a 'home-run' idea.

He might be right. About everything. The fact that this idea came his way and just felt, the timing, his background; this film would not be the same without Farrelly's approach. That may seem self-explanatory, but what I'm addressing is the fact that this film needed the touch of a comedic filmmaker, or at least this specific comedic filmmaker. Within he and his brothers' specific niche of comedy, there was something that was always enjoyable about it, even if the comedy itself, was not. They knew about human connection.

The Farrelly brothers always, without fail, had a shmaltzy moment of love, one way or another. Even when dealing with Lloyd and Harry in Dumb & Dumber, when dealing with caricatures of human beings, there is a bond there, there is a love. So imagine if suddenly Peter Farrelly starting taking things seriously? When a filmmaker understands sentiment and human connection, then it's not such a stretch to make the jump to drama.

Farrelly's influence on the mood of the film is fairly obvious. He's never been a subtle filmmaker, and the film does lack significant drama. After my viewing of the film I wouldn't even categorize it as a drama, because, while there may be hurdles the characters have to overcome, it seems to be a very light-hearted story. Arguably, the most lighthearted version of an extremely heavy subject matter. I was always waiting for the other shoe to drop, dramatically speaking, but nothing too heavy ever came. Every time there is something even remotely dramatic, the two characters get out of it with relative ease. There's nothing necessarily wrong with that, but some might see this as too lighthearted, and not truly dealing with the reality of racial segregation and prejudice. There's nothing necessarily wrong with that, as it's the tone of the film all three writers and Farrelly were going for, but considering the subject matter, this may actually anger audience members. The title Green Book refers to a 'travel guide' of sorts for African-Americans of that time. Realistically though, it was more of a 'survival-guide', as it informed those families where it was safe to travel, what restaurants they were permitted to eat in, and the 'colored only' locations to lodge. For many families, the Green Book has significant personal meaning.

What I am suggesting, is that is merely subtext, despite what they chose to be the title. The story is really about our shared humanity despite differences, and while these characters do reinforce some stereotypes, it shatters others. Mahershala and Mortensen create characters that are part caricature, part inspiration, but regardless of how you view them, it works. The two are so well-balanced, it's difficult to say if either of them is truly the lead. That's of the utmost importance, as this unlikely friendship is what inspired the film and drives the story.

I never feel like I am watching Mahershala Ali acting, as... to be honest... I don't really know who Mahershala Ali is. (That is a testament to his acting, not a comment on the fact he and I don't hang out in the same social circles). However, his role as Dr. Shirley is drastically different than anything I've seen him do before. His sense of who the character is, his mannerisms, his diction, even his inner thought process become clear through Ali's performance. Since this is a more comedic film in tone, I have to also compliment Ali's sense of timing. The character is reserved for the majority of the film, and being a straight man in a comedic duo is not easy, but Ali finds a brilliant balance of drama and comedy. It's another performance, that while perhaps not award worthy, he will assuredly be remembered for.

Green Book will also be remembered. The balance it finds within small sub-genres of cinema is carefully crafted; part road-trip buddy movie, part period piece, part social commentary, but all enjoyable. It may not spark serious conversation between audience members. It certainly won't solve the social inequality and hatred that plagues many parts of the world still to this day. It does, however, serve as a reminder of the core concepts it successfully portrays. Mortensen when addressing the crowd put it best: "There's something very profound there that we lose track of. These days, we lose track of it a lot. And that is anybody has the right to understand or appreciate other people... you can respect each other ...you can listen to each other."

So if you'll indulge Mortensen's teachings, listen to me... go see Green Book.

A Star Is Born (2018)

A Star is Born Shines (TIFF 2018)

[9/10 · 22 September 2018]

If you're even a casual moviegoer, chances are you have already heard the argument; that originality is dead in Hollywood. We live in an era where even Ghostbusters is no longer sacred. Where you wouldn't be surprised if one of the large studios announced a remake of the Godfather or Citizen Kane. Those remakes might capture some audience members, but those films almost certainly don't capture the audience's hearts. They certainly don't capture the praise critics. They certainly don't take home any major awards.

That all changes with A Star is Born.

Change, however, is a key word when it comes to remakes. (Or remakes of remakes of remakes...) In order to make the venture worthwhile, the film makers not only have to stay close to the ideas of original film, but they have to have a reason to retell the story. It's a delicate balance. Every version of a Star is Born follows a broken celebrity, in the Winter of his career, damaged by years of drinking who is suddenly reborn when meeting a young ingénue. The two fall in love, but while their relationship develops, their entertainment careers go in different directions.

Director and Co-Star Bradley Cooper's film seemingly borrows more from the Streisand/Kristofferson iteration of A Star is Born (the last time this story was retold), as the dynamic between the two lovers hinges on the music industry. When Streisand and Kristofferson remade the film, (for the fourth time at that point) in 1976, they broke one of the aforementioned expectations, as they both took home Golden Globes for their performances. Perhaps Cooper was more inspired by performance, rather than aesthetic, as the acting is one aspect out of many that shines in Cooper's version. The characters of Jackson Maine (Cooper) and Ally (Lady Gaga) drive the entire story in what is essentially a film with only half a dozen notable characters. Cooper and Lady Gaga have amazing chemistry, and from the moment you see the two on screen together for the first time you feel the connection.

First time director, Cooper, deftly creates intimacy between Jackson and Ally, without which the story would certainly not be as successful. In stadiums housing thousands of fans, in small dressing rooms packed with screaming Drag Queens, in a loud dive bar, in the parking lot of an all-night-grocer, Cooper uses tight framing and sound impeccably to make it seem like they're the only two people in the world. You understand his charm, you see her vulnerability, and the two actors give side-by-side stellar performances.

That isn't to take away anything from a small, but powerful supporting cast. There were some brilliant and surprising moments from Dave Chappelle as Noodles, an old friend of Jackson's who reiterates how much Ally has revitalized Jackson. The largest surprise came from Andrew Dice Clay as Lorenzo, Ally's father. Both Clay and Chappelle brought great moments of love and humanity in their criminally small interactions with the two main characters. Sam Elliot also surprised me in his role as Bobby, Jackson's (much) older brother. They explain the age discrepancy, but the rest is self-explanatory as he and Cooper truly are brothers on screen, with all the frustration, fights and familiarity that goes with that relationship. Elliot in his similarly small time on screen, often showed the softer side of his craft, hiding touching instants of sadness when it comes to his difficult relationship with his brother, concealed only slightly by his iconic mustache.

It begs the question, does Cooper deserve all the praise as director, or does the cast? What I can glean from the film is Cooper definitely had his cast on the same page, as regardless of screen time, these actors made you care about their characters. The audience is invested. There are countless pivotal story beats where these characters may do something frustrating or angering. Instead of merely recognizing that these are hurdles to push the story further, I found myself almost vocally upset, akin to yelling at a character in a horror film to not go in the room where the killer is hiding. This film makes you want the protagonists to succeed, even when dealing with topical subplots regarding celebrity, regret, depression and substance abuse.

And that's because you're along for the ride the entire time. You're a part of this love story. The film sucks you in from the beginning with the roar of a raucous concert audience, the hard beat of the drums on Jackson's stage, and his hypnotic swagger as he plays for thousands. If you were one of the millions of people who have seen the trailer for this film, I'm sure you know exactly what I'm talking about (kudos to the promotional department of this film, as that, is an extremely engaging and powerful trailer) but it stems from an extremely engaging and powerful film. The music, much like it did with the trailer gets inside you, not just inside your head where you find yourself humming a gentle country lilt sang by Cooper, it gets inside your heart and soul and rattles around. It repeats over and over until you're the one who doesn't want to let go. While Cooper should be commended for taking his craft seriously and improving his singing, this is where Lady Gaga shines, to no one's surprise.

Ally is a perfect role for her. The performer has spoken about how vulnerable and ugly she felt in some scenes when shooting this film, but it made her so real on screen. Ally's career, much like the first half of the film, blasts off, and all you can do is hold on until you realize the songstress is belting a powerful ballad. You wonder, much like her character "how did we get here" but at that point, you're just happy to be along for the ride. It is a testament to Lady Gaga's ability, because being such an iconic figure, if it weren't for her conveyance of sincerity and humility, the character's journey would seem forced and unfulfilling. Because of Gaga's performance, however, you relish the moment Ally can finally embrace who she is and bravely belt out her songs with no inhibition. In a film with so many moments that grab you, the music is undeniably one of my favorite aspects. I can't wait for this film to get a wider release so the studio can also make the soundtrack available.

If and when Award season comes, and A Star is Born is undeniably a forerunner for several major awards, I think Cooper should be commended simply because as director, he brought everything together. The songwriters, the actors, the cinematography, the sound design was superbly balanced to create the best possible version of this story making it, the brightest star for both critics and audiences.

Molly's Game (2017)

Sorkin has a lot to learn about directing, but once again brilliantly shows his writing prowess

[8/10 · 17 November 2017]

I saw this film at TIFF in Sept, and it is extremely entertaining. While Aaron Sorkin, in his directorial debut shows he still has a lot to learn about directing, his story (to no surprise) is full of life, wit, and snappy dialogue. He will undoubtedly be nominated for another Oscar this year.

Please click the link to watch my video review, and I hope you enjoy.

https://www.youtube.com/watch?v=9rouVZfb5yo

Three Billboards Outside Ebbing, Missouri (2017)

McDonagh may win several major awards for this one

[9/10 · 17 November 2017]

I saw this film at TIFF in Sept, and it is absolutely brilliant. It won the People's Choice awards at the festival, and that says a lot. What says even more, is I am a huge fan of Martin McDonagh's work, especially his writing, but I never once before thought his films would be nominated for best picture. I truly think that will happen this year.

Please click the link to watch my video review, and I hope you enjoy.

https://www.youtube.com/watch?v=8WYKsLQSlhA

The Shape of Water (2017)

A love story we all need to watch in these dark times

[10/10 · 17 November 2017]

I saw this film at TIFF in Sept, and it is absolutely brilliant. It is much needed in today's world, because it sub textually shows us about the outdated thoughts on masculinity, sexuality and love. It shows us that love can blossom anywhere. It may be my favorite del Toro film, which is saying a lot.

Please click the link to watch my video review, and I hope you enjoy.

https://www.youtube.com/watch?v=ZPXZhbiGf4Q