Romance

Passengers: Boy Meets Girl, Stranded Amid the Stars

Jeremy BeckReviews
Jennifer Lawrence and Chris Pratt in "Passengers"

It is an unwritten rule that every movie set in space must feature a scene where a character suddenly begins to run out of oxygen. Passengers, the diverting, flawed, occasionally fantastic romantic thriller from Morten Tyldum, is no exception. But the scene in question, which is both exciting and exasperating, arms critics with an all-too-apt metaphor to describe the broader film. Here is a movie that begins with enormous promise, sustains that promise for well over an hour, and then slowly, steadily runs out of air. It gasps for breath, its limbs flail helplessly, and its brain, deprived of precious nutrients like logic and plausibility, shuts down.

But if I’m writing less of a review than an obituary, allow me to express the hope that Passengers—which has been unjustly savaged by critics—may rest in peace. Its ultimate demise should not invalidate the genuine delight and intrigue it provided while it was still alive. By which I mean, for its first two acts, Passengers is a whole lot of fun. Visually, it’s sleek, sharp, and sexy, with a slick, antiseptic production design, fetching costumes, and a pleasing color palette. And narratively, it tells an engaging story fraught with genuine moral conflict. A high-concept sci-fi think-piece, it will undoubtedly draw unflattering comparisons to 2001: A Space Odyssey, but it’s inspired less by Kubrick than Kieslowski, and if its answers to its philosophical quandaries are less than satisfactory, it at least has the courage to pose such dilemmas in the first place. Read More

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La La Land: Sing Me a Song of an Era Bygone

Jeremy BeckReviews
Emma Stone and Ryan Gosling in Damien Chazelle's magnificent "La La Land"

The movie musical didn’t need to be resurrected, because it never died. It has become fashionable for misty-eyed critics to pine for the glory days—of Busby Berkeley and Bing Crosby, of Rogers & Astaire and Rodgers & Hammerstein—but the twenty-first century has featured more than its share of quality musicals, from Chicago to The Last Five Years to Moulin Rouge. Yet the continued vitality of the musical shouldn’t diminish the staggering triumph that is La La Land, the astonishing tour de force of song, dance, and joy from Damien Chazelle. To declare that this sweeping, soaring film has salvaged the musical from obscurity would be both inaccurate and reductive; La La Land is far too vibrant and versatile to be trivialized as the savior of a particular genre. All the same, it may well serve a broader critical function—simply uttering its title can now operate as a reflexive retort whenever anyone dares to bemoan the quality of modern movies. The musical may not be dead, but La La Land reaffirms that cinema itself is very much alive.

Of course, anyone doubting the medium’s endurance probably hasn’t seen Chazelle’s prior film, Whiplash. That brilliant drama chronicled the corrosive relationship between a virtuoso drummer and his ferocious conductor, a fascinating dynamic that revealed the dark underbelly of the pursuit of greatness. With La La Land, Chazelle has retained Whiplash‘s relentless energy, but he has swapped out its obsessive fury in favor of a grand romanticism. The director is undeniably enraptured with the musicals of yesteryear, in particular Jacques Demy’s classic The Umbrellas of Cherbourg, but his filmmaking is too vigorous and inspiring to be motivated purely by nostalgia. Instead, he has harnessed his considerable formal powers to tell a story of piercing emotional clarity, if one that also happens to pay heartfelt homage to Tinseltown’s rich history. His abiding love of old movies has allowed him to make a spectacular new one. Read More

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Loving: Found Guilty for Finding Love

Jeremy BeckReviews
Joel Edgerton and Ruth Negga as a real-life couple in "Loving"

Loving is a very pleasant American movie about a very unpleasant time in American history. It tells a story of adversity, perseverance, and ultimate triumph, and it proceeds in a rigorous straight line, with minimal eccentricity or embellishment. This is perhaps to be expected, given that Loving belongs to a specific subgenre: the earnest and well-meaning docudrama. But it is also something of a surprise, given that its writer and director is Jeff Nichols, whose previous films (Take Shelter, Mud, Midnight Special) were largely off-kilter and opaque. Nichols tends to focus on odd protagonists—a delusional laborer, a wandering gangster, an alien boy—but even more central to his filmmaking are his disdain for convention and his gift for unpredictability. Yet anyone with access to Wikipedia could comfortably predict how Loving will play out.

This does not make it bad. On the contrary, it can be satisfying to watch a familiar story unfold on screen, particularly when it is well-told and well-acted. And of course, the movie’s theme—that stoic decency can defeat senseless bigotry—is a worthy one, equally relevant now as when the events of the film took place. Still, the challenge for Nichols is to make Loving stimulating as a piece of cinema as well as a lesson in history. Given his meat-and-potatoes approach to this material, it’s a marvel that he even half-succeeds. Read More

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Allied: Sex and Spies, with a Side of Suspicion

Jeremy BeckReviews
Marion Cotillard and Brad Pitt are spies with secrets in "Allied"

Beautiful, enigmatic, tantalizingly seductive, brimming with feeling—am I describing Allied, or Marion Cotillard? Is there a difference? Robert Zemeckis’ World War II thriller has much to recommend it—slick pacing, gorgeous costumes, a taut script by Peaky Blinders creator Steven Knight—but the unequivocal highlight is Cotillard’s hypnotic performance. At once exquisitely graceful and nakedly emotional, the actress effortlessly commands your attention whenever she’s on screen. The only problem with Allied is that she isn’t on screen nearly enough.

A handsome period piece, Allied opens in blinding sunlight, as a lone solider parachutes into the deserted sands of French Morocco. This is Max (Brad Pitt, holding his own), a Canadian intelligence officer on a mysterious assignment. He slips on a wedding ring and makes his way to Casablanca, where he locates his wife, a socialite named Marianne (Cotillard), who in actuality is neither a socialite nor his wife. Instead, Marianne is a fighter for the French Resistance—she and Max, who have never met before, have been tasked to pose as a couple while carrying out a dangerous mission. Knight’s script initially leaves the details of that mission murky, though we know the stakes are high and the odds are low; when Marianne asks Max to estimate their chances of survival, he tersely replies, “60-40. Against.” Read More

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The Handmaiden: Don’t Trust Anyone, the Help Least of All

Jeremy BeckReviews
Kim Tae-ri is a servant with a secret in Park Chan-wook's amazing "The Handmaiden"

Murder, deception, hot sex, cold death, severed fingers, poison cigarettes, vials of deadly blue liquid, monsters lurking in the basement—The Handmaiden, the exquisite and electrifying thriller from Park Chan-wook, has it all. A fire-breathing romance wrapped inside a stately period noir, it is simultaneously gorgeous and grotesque, a rampaging id colliding with a meditative superego. That may sound contradictory, but The Handmaiden doesn’t need to choose between beauty and excess. Over the course of this serpentine, deliriously entertaining film, excess becomes beauty.

Nothing about this frenetic, fastidious movie is traditional or predictable, except perhaps that it feels like the logical next step of Park’s career. Deemed a provocateur ever since he crashed onto the cult scene with Oldboy, Park has taunted and delighted audiences with his singular combination of immaculate craft and utter debauchery. For me, Oldboy strayed a bit too far toward the latter (I’ve yet to see the other two films in his “vengeance” trilogy, Sympathy for Mr. Vengeance and Lady Vengeance), but he smartly tweaked his formula with Thirst, a warped love story that used vampirism to explore the insatiable need for human connection. Then came the terrific Stoker, a cold-blooded tale of Gothic horror that Park set in the sweltering heat of the American South. Now he returns to his native South Korea, but while The Handmaiden finds Park going back home, it demonstrates that his virtuosic command of cinematic language is more vibrant than ever. Read More

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