Period Piece

The Light Between Oceans: On a Spit of Land, Still Lost at Sea

Jeremy BeckReviews
Michael Fassbender and Alicia Vikander in "The Light Between Oceans"

Derek Cianfrance isn’t subtle. His movies traffic in heavy sentiment and obvious themes, and they are systematically designed to induce trauma and heartache. If he were less talented, this would feel like manipulative hackwork, but thankfully, he’s as skilled as he is blunt. In Blue Valentine, he performed a brutal autopsy of a marriage while it was still alive, in the process coaxing superlative performances from Michelle Williams and Ryan Gosling. He followed that with The Place Beyond the Pines, a striking, generational crime saga of failed fathers and sons. His new film, The Light Between Oceans, maintains his twin fixations on matrimony and family, striving to wring sweat from your brow and tears from your eyes.

It does not quite succeed. The movie is too deliberate, too mannered, to incite the response it so plainly seeks to provoke. But there is still much to admire in The Light Between Oceans, beginning with its superlative craftsmanship. This is a gorgeous film, with magnificent cinematography from Adam Arkapaw, the talented lenser who gave us the unforgettable tracking shot in True Detective, as well as the ethereal beauty of Jane Campion’s Top of the Lake. Here, capitalizing on Cianfrance’s preference for shooting on location, he delivers frame after frame of stunning naturalism: gentle sunrises peeking over a hillside, waves crashing onto rocky shoals, ships slicing through the mist like wooden blades. These images are accompanied by the tinkling piano and whispering woodwinds that could only be orchestrated by the great Alexandre Desplat. It’s all rather lovely. Read More

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The Nice Guys: Reluctant Heroes Shoot Off Their Mouths, Their Pistols

Jeremy BeckReviews
Russell Crowe and Ryan Gosling in Shane Black's "The Nice Guys"

Shane Black loves misfits. His screenplay for Lethal Weapon spawned countless derivative buddy-cop movies, but its heart lay in the fragile eccentricity that made Mel Gibson’s Martin Riggs such a dashing and dangerous hero. His script for The Last Boy Scout paired two fallen losers—a disgraced ex-Secret Service agent (Bruce Willis) and a former football star (Damon Wayans)—then watched with glee as they stumbled into a ludicrous plot involving illegal sports gambling. And Kiss Kiss Bang Bang, his directorial debut, starred Robert Downey Jr. as a hapless unemployed actor whose motor-mouthed speech was exceeded in speed only by the bullets whizzing past him. All three movies indulge in hard-boiled genre thrills—double-crosses, overbaked conspiracies, larger-than-life villains—but they’re elevated by a writer’s true love for his characters and his words. Now, Black is back with The Nice Guys, a caper-comedy that both exposes the director’s worst tendencies and showcases his unique brilliance.

The flaws of this disposable, delightful film are obvious. It’s too long, its action is dull, its violence is pointless, and its plotting is simultaneously overcomplicated and undercooked. With a different director, these deficiencies might be crippling, but with Black (who shares scripting duties here with Anthony Bagarozzi), they’re trivial. You don’t watch The Nice Guys to see what happens next. You watch The Nice Guys to hang out with the nice guys. Read More

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Everybody Wants Some!!: College Ballplayers, Hazed and Amused

Jeremy BeckReviews
Blake Jenner, Glen Powell, Temple Baker, and Tyler Hoechlin in Richard Linklater's "Everybody Wants Some!!"

Ah, college. Remember your freshman year, when all you did was guzzle beer, smoke pot, and bang hot girls? Sadly, neither do I. But whether Everybody Wants Some!!—the fun, effortless, secretly sweet new film from cinema’s slacker emeritus, Richard Linklater—is a clandestine autobiography of its director’s misspent youth or a fantasy of testosterone-laced revelry, it doesn’t much matter. This movie is such a relaxed pleasure, jocks and nerds alike will find its embrace to be irresistible. It’s wreathed in a halcyon glow, but it never dreams of suggesting that the past was better. That would constitute a judgment, and there’s none of that here.

There isn’t all that of much of anything, unless you count warmth, intelligence, and continuous humor. This absence of substance—not to be confused with illicit substances, which flow freely—comes as no surprise. Linklater has made a career out of what might be called epic minimalism, compressing grand, sweeping stories into spare, economical packages. Three years ago, he delivered Before Midnight, the concluding chapter of a trilogy that somehow traced the entire trajectory of a single (and singular) relationship by way of three seemingly mundane single-day episodes. Then he gave us Boyhood, the outrageously ambitious account of a child’s maturation, filmed in discrete stages over the span of a dozen years. One of the remarkable things about Boyhood was that it was defiantly unremarkable, eschewing typical story beats in favor of quiet character moments and thoughtful exploration. Read More

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The Witch: A Puritanical Walk in the Wicked Woods

Jeremy BeckReviews
Anya Taylor-Joy in "The Witch"

Early in The Witch, Robert Eggers’s sly and skillful horror film, a man goes hunting with his 12-year-old son. They’re searching for game in the midst of a dark, ominous wood, but they also find time for some standard-issue father-son bonding. Only it isn’t quite standard-issue; when the man, William (Ralph Ineson), cautions the boy, Caleb (Harvey Scrimshaw), against the dangers of sleeping too late, he solemnly intones, “The devil holds fast your eyelids.” That delectable piece of diction encapsulates The Witch‘s dual preoccupations. It’s a movie about the danger of religious fervor, but it’s also about communication—what people say (and don’t say), and, more importantly, how they say it. As the adage goes, the devil is in the dialogue.

The Witch, which takes place in the 17th century, purports to base its tale of literal and allegorical horror on actual period sources. To that end, the characters speak largely in early-modern English, which means there are a great many thous, haths, and dosts. (Even the film’s marketing materials get in on the act, treating the title’s W as consecutive V’s.) This requires a small act of translation on the part of the audience—not unlike when listening to Shakespeare, you have to actively puzzle out the characters’ speech, rather than simply absorbing it. This assumes that you can hear it; the film’s sound design picks up the rustling of branches and the bleating of animals, often compelling you to strain your ears to comprehend every flavorful morsel of colonial argot. Read More

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Hail, Caesar! Give Me That Old-Time Hollywood, with Smirking Sincerity

Jeremy BeckReviews
George Clooney as Baird Whitlock in the Coen Brothers "Hail, Caesar!"

There is quite a bit going on in the latest eccentric movie by Joel and Ethan Coen, beginning with its title. It is called Hail, Caesar!, and it is about the making of a sword-and-sandal epic called Hail, Caesar!, which comes complete with a subtitle, “A Tale of the Christ.” Students of Hollywood history will recognize that caption as the same one affixed to Ben-Hur, the Charlton Heston-starring colossus that seized 11 Oscars in 1959, but the Coen Brothers are interested in more than just nostalgic homage. Early in Hail, Caesar!—the real one, not the fake one, though it is occasionally difficult to distinguish the two—producer Eddie Mannix (Josh Brolin, fighting trim) assembles a quartet of religious cognoscenti and beseeches them to tell him if the script for his big-budget behemoth could possibly offend members of their respective faiths. This leads to a predictably funny whirligig of insults and confusion—the rabbi in attendance is constantly denigrating the views of his Christian brethren, while the minister insists that the film’s chariot-jumping scenes are narratively dubious—but the on-screen collision between religion and cinema is hardly incidental. For the Coens, filmmaking isn’t just a vocation. It’s God’s work.

But what about for Eddie? As Hail, Caesar! opens, he is experiencing a crisis of faith, one that has him rushing to the confessional at regular 24-hour intervals. Eddie is the fixer for Capitol Pictures, one of those titanic Old Hollywood studios that churns out star-powered, machine-authorized hits in the vein of Cecil B. DeMille blockbusters, Busby Berkeley musicals, and John Ford westerns (plus plenty of junk, too). He’s wrung out, exhausted from the endless hours and disturbed by the seedier aspects of his job. That doesn’t stop him from working. After we first see him unburdening himself to an apathetic priest, he hightails it to the Hollywood Hills and slaps around one of his stars, berating her for posing for naughty photos (the studio owns her glamorous likeness, you see) and sending her to rehab to dry out. Then it’s off to the back lot to wrangle obstinate directors, soothe haughty starlets, and divert nosy gossip columnists, the latter of whom are always sniffing out the latest scandal. This is to say nothing of the pictures themselves, many of which are behind schedule; when Eddie finally finds a moment to review the most recent dailies of Hail, Caesar!, he discovers that one of its major set pieces is interrupted by a title card reading, “Divine Presence to be shot.” Read More

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