Under the Silver Lake- Movie Review

Tags

Andrew Garfield, Callie Hernandez, Comedy, David robert Mitchell, Drama, Grace Van Pattern, Jimmi Simpson, Patrick Fischler, Riley Keough, Topher Grace, Under the Silver Lake

Under the Silver Lake is a very odd movie, purposefully obtuse in a way that invites an immediate cult following. It’s no surprise that the film’s journey into theaters was fraught with setbacks; after a polarizing reaction at last year’s Cannes Film Festival, the June 2018 release was pushed to December, then pushed again to April of this year when it wasn’t deemed an awards contender. This April release featured a very limited theatrical rollout that coincided with a VOD release prior to its debut on Amazon Prime Video (where I caught up with it). In a way, there has not been a consistent period of discussion regarding the film as its release was so mishandled, and I have a feeling that the conversation surrounding it will continue years onward as more people analyze it.

I think its nearly impossible to dismiss the craft put into Under the Silver Lake; the film lulls its audience into a hypnotic state in which we’re never totally clear what is intended to be important, or what is just a product of the inherent weirdness. There is certainly a deep mythology to what writer/director David Robert Mitchell has created, but in many ways, the film is an experience. That’s something that is often said, but I think the frantic journey of discovering what the film is, the crushing impact of its length, and the analysis of its text (which in many ways feels like a response directly to analysis) are crucial to understanding it.

Sam (Andrew Garfield) is a pathetic loser who’s on the verge of being kicked out of his apartment when he has a chance encounter with a beautiful woman (Riley Keough), who promptly disappears. Sam becomes obsessed with finding her, as he attempts to make sense of the strange occurrences in his Los Angeles community, which include a serial killer of dogs, a prostitution ring, a pop group with subliminal messages hidden in their songs, and a mysterious group seeking ascension to another plane of existence.

Is Sam crazy? Are we simply viewing the sequence of events from his warped point of view? It’s clear that Sam isn’t intended to be a redeeming protagonist, as is evidence from Garfield’s terrific performance, but sometimes we are entranced by his ideas about the subliminal and secretive elements of society. At the same time, it’s clear that the film’s attempts to advocate for Sam’s position that there must be something tying everything together is meant to be challenging- how much are we really suppose to relate to this obsessive, creepy guy, and what does that say about us as a viewer?

What makes the film so unique is that it manages to spontaneous and spiritual, yet pay off the thematic core of a search for answers. It’s dark, shockingly violent, and often genuinely scary (Sam’s obsession with the dog killer lead to a suspenseful sequence where he views a crime through a video monitor), yet there’s an inherent absurdism to all the wisdom it provides. There’s not as much outward comedy as the premise may suggest, but as a viewer we’re able to constantly shake our heads and stare in disbelief at what we’re watching.

As for Garfield, this is some of his best work, and a new chapter in his career. While he’s given tremendous performances in the past- The Social Network, Hacksaw Ridge, Silence, 99 Homes, the first The Amazing Spider-Man, all of them are variations of an idealistic and optimistic, likable protagonist. With Under the Silver Lake, Garfield has taken the quirkiness and neurotic elements of his past performances and channeled them into a truly disgusting individual. He captivates our attention through his hapless misadventures and encounters with the strange and eclectic supporting actors, yet we’re often reminded that this guy isn’t the ideal version of anything.

Since the film is told entirely from Sam’s perspective, each supporting actor is mainly there to give Garfield with information or insight that propels him to his next step. In doing this, we never get to fully know any of the other characters, which is precisely the point. There’s a one note shallowness that everyone brings to their roles that reflects Sam’s narcissism, and it’s also a great pallet of intriguing character actors. Ruben Fischler in particular has fun as a comic book writer who introduces Sam to ideas about subliminal messaging, and Riley Keough’s character Sarah reflect the perfect driving force for this hypnotic journey.

It’s also clear that the film is trying to be disorienting when it comes to any technical elements. The score is overtly bombastic, and while at first it may feel like a satire of the noir elements that are satirized, it also gives a legitimacy to Sam’s quest. The strange imagery, including large, detailed environments and odd animated segments are purposefully off putting, and reflect the film’s ability to never be pinned down in one place or as one thing.

Is Under the Silver Lake a masterpiece? I think there is definitely an argument to be made for it, and there’s not a lot of films I’ve seen recently that are this rich in both subtext and detail- it’s a layered meta commentary that is so rich with meaning that even the indulgences feel like they have value. Yet, it’s also that willful obtuseness that makes it hard to get into fully. It’s hard to fully evaluate a film in which I’m not entirely sure what its intensions were- that’s also what makes it so fascinating. Grade: A

Advertisements

BlacKkKlansman- Movie Review

Tags

Adam Driver, Alec Baldwin, BlacKkKlansman, Drama, John David Washington, Paul Walter Hauser, Spike Lee, Topher Grace

BlacKkKlansman is a terrifically timely movie, and although the film’s primary motivation seems to be drawing comparisons between its historical context and today’s world, it has the benefit of telling a wild true story story that seems stranger than fiction. Although a undercover crime thriller like this seems like it’s fit to be a straight up thriller, the film is more about conversations; a majority of the film is stimulating discourse between characters, as well as a seedy exploration into the ugliest side of humanity, and the realism and wit that is found in the film’s script translates into an enthralling film.

Based on a true story, BlacKkKlansman follows Ron Stallworth (John David Washington), the first black cop on the Colorado Springs Police Force. After contacting members of the Klu Klux Klan over the phone, Stallworth enlists fellow cop Flip Zimmerman (Adam Driver) to impersonate him and infiltrate the organization. Together, the pair is works together to stop a terrorist attack on members of a black student union.

The film embraces the ugliness of the world head on, and the depiction of the intense bigotry of the KKK, as well as the casual racism Stallworth faces from other cops, is difficult to watch at points. This brutality is cleverly interjected with humor, as the ridiculous true story is filled with ironies and often hilarious situations, and Spike Lee plays on all the humor that could be found in this situation. Still, the film doesn’t have any easy answers, and the film features a lot of interesting conversations, from Stallworth’s discussions about trying to change the police force from the inside with a student leader (Laura Harrier) and Zimmerman’s contemplation of his Jewish heritage in the wake of his undercover operations.

John David Washington delivers a star making performance, and although we’re naturally going to be rooting for his character in his noble quest to break barriers in the police force and stop terrorists, Washington maintains a charisma and confidence that makes him electrifying onscreen. Driver is also terrific, and although he doesn’t have any huge scenes, he plays on his character’s moral dilemma in the most subtle of ways. There’s also a standout performance by Topher Grace as David Duke; the film makes a point of making the leader of this horrifying organization more of a sitcom bully than a supervillain, and although Lee makes Duke the butt of many jokes, he remains a disturbing presence, and Grace does a great job at making sure we’re laughing at him, not with him.

The film is slightly too long, and although there are no major subplots that could be removed, some scenes drag on slightly too long. While it is more of a conversation piece, the third act does feature an edge of your seat sequence that’s preceded by some insightful observations about two communities. BlacKkKlansman has a lot to say, but it’s also a very enjoyable ride with characters you can’t help rooting for and some true insights. Grade: A-

War Machine- Movie Review

Tags

Ben Kingsley, Brad Pitt, Comedy, David Michod, Drama, John Magaro, Meg Tilly, RJ Cyler, Scoot McNairy, Tilda Swinton, Topher Grace, War Machine, Will Poulter

War Machine is a broad, sharp satire of the war in Iraq, laced with some intriguing social commentary with one of Brad Pitt’s most comical, and surprisingly sincere, performances. Clearly, the film is modeled after The Big Short (another Plan B production), and while the film’s energy isn’t quite as kinetic, nor is at as gut-bustlingly funny, there’s a genuine complexity to the satire; the film isn’t simply a SNL parody of the Bush era, but an interesting character piece on Americans, and their cluelessness to foreign interactions.

General Glen McMahon (Brad Pitt) is a four-star American General hell bent on bringing peace to Iraq, who faces harsh resistance from the Obama Administration, forcing McMahon to question his traditionally nationalist, All-American values. Pitt is absolutely brilliant here; he’s charming, likable, and is never painted as a war monger or caricature. The scenes between McMahon and his wife (Meg Tilly) add emotional weight to the film, and an impressive supporting cast each add personality and charisma to the perfectly paced film.

War Machine walks the fine line between realism and satire; a film in which Brad Pitt comically dances to “Poker Face” also features a ghastly scene of civilian casualties, yet somehow it works well together. It’s a difficult task to handle, and in an era of countless anti-war films, War Machine stands as a unique, interesting take on such a concept. It’s a entertaining and edgy film from Netflix, with a fantastic performances from one of Hollywood’s most iconic movie stars. Grade: A-

Truth- Movie Review

Tags

Bruce Greenwood, Cate Blanchette, Dennis quaid, Drama, Elizabeth Moss, Jamer Vanderbilt, Robert Redford, Stacy Keach, Topher Grace, Truth

Truth is a compelling, if occasionally one sided historical retelling, equipped with excellent performances and a thorough understanding of journalistic practices. The drama of the situation feels real, and the procedural elements of the film work well in the situations. While the performances are excellent, and the story raises some interesting points, the film struggles to find its narrative.

Just before the 2004 election of President George W. Bush, 60 Minutes producer Mary Mapes (Cate Blanchette) gets a tip about the election: the President did not complete his military service. Pulling together her team of Mike Smith (Topher Grace), Roger Charles (Dennis Quaid), Lucy Scott (Elizabeth Moss), and veteran anchor Dan Rather (Robert Redford). When there story comes under fire, motivations are questioned, practices are changed, and journalism in of itself is changed.

Director and writer James Vanderbilt does a great job at capturing the journalism and tension of the era, and while some of the dramatic moments feel forced, specifically the backstories of some characters and the reactions to the story, the capturing of the era is excellent. While character to character relations are strong, internal character development feels staged in many instances. The film closes strong, and the message of the story, which revolves around questioning everything, bodes well.

The cast is also particularly strong, with Cate Blanchette being the standout as Mary Mapes, giving a captivating and raw performance that is worthy of award season praise. While it is definitely Blanchette’s film, Redford in particular adds a dramatic presence to the film. While Topher Grace, Dennis Quaid, and Elizabeth Moss are supporting players, they’re great in the film, and Grace in particular gives an excellent monologue at the end of the film. While Bruce greenwood is underused, Stacy Keach gives a great and subtle performance.

Truth is powerful cinema, and while it’s occasionally ineffective, there’s a lot that works, and the performances alone a worth seeing. Though it’s political views are unsubtle and some drama feels forced, it’s rare to see a journalism film that’s this well done, and a film that passionate about history. Grade: B