With most theatres closed, streaming is increasingly the future of cinema. And the major platforms are investing heavily. Annual spending by Netflix alone has grown to C$20 billion. I won’t compile my “best of 2020” list till later but number 1 is sure to be Nomadland, so as to why it speaks to the current moment see this commentary: https://www.indiewire.com/2020/12/how-nomadland-captured-the-essence-of-2020-1234606135/.
If you are not already heartily sick of Christmas
movies, Netflix has a Santa bag full. Though
sappy, The Christmas Chronicles: Part Two from Chris Columbus is a
sporadically diverting sequel to 2018’s The Christmas Chronicles. Kurt
Russell is the jolly purveyor of Christmas spirit with real-life partner Goldie
Hawn as Mrs. Claus and oodles of hyperactive animated “elves”. Of course, Santa
has a sleigh driven by reindeer, though a snarling snow leopard attacks Dasher
so it’s not all sweetness and light. In addition, the kid/absent dad story
carried over from the first chronicle gets a new time-bending twist, and
there’s a new character Belsnickel, a naughty former elf played by Julian
Dennison (the Kiwi fat kid from Hunt for the Wilderpeople). Throw in a
Cancun beach scene and one of airport chaos … all very pre-Covid of course.
Speaking of which, and whether to
laugh or cry, on December 27 Netflix also put out a humorous 80-minute special
“Death to 2020” that pokes fun at all the maladies of the past year—including
the effects of the Trump virus on a befuddled America. Obviously hundreds of
thousands of deaths is no laughing matter.
Call me crazy or insensitive but
some of the skits offered lol comic relief.
With so much on TV and via online
streaming, the titles proliferate.
Thanks to Hugh Finsten for reminding me that Crave has shown the
excellent drama by writer-director Eliza Hittman, Never Rarely Sometimes
Always, an award winner at both the 2019 Sundance and Berlin film
festivals. [More comment at: https://theplaylist.net/never-rarely-sometimes-always-sundance-review-20200125/.]
And don’t forget about the public library affiliated Kanopy platform on which I
recently watched the excellent 2019 World War II Russian drama Beanpole (https://www.kinolorber.com/film/view/id/3731)
which is set in Leningrad in 1945.
Now
on to my top pick and a few others.
Soul
(U.S.
2020, https://www.pixar.com/soul
Disney+) A+
Co-directed
and co-written by Pete Doctor who brought us 2015’s animated wonder Inside
Out, this magical collaboration of Pixar and Disney studios is without
question the best animated feature of 2020.
The main character is Joe (voiced by Jamie Foxx), a somewhat care-worn
African American New York jazz musician who supplements income by teaching band
to schoolkids. After a fall and loss of
consciousness he enters a supernatural realm, before and after the “great
beyond”, where he meets a yet-to-be-born soul simply named “22” (voiced by Tina
Fey). Oh and there’s a role for a
“therapy cat” too. Of course, it’s a
fable, the inspirational fantasy of which contrasts with Joe’s previous daily
life. But let yourself go with the flow
of this soulful story and be rewarded with some welcome seasonal sweetness and
light. And do also watch the 16-minute
bonus short film “Burrow” that follows the main feature.
Bridgerton
(U.S./UK
2020, 8 episodes, Netflix) A
An
indication of Netflix’s extremely deep pockets is the extravagant production
design of this historical costume drama, released Christmas Day, created by
Chris Van Dusen adapting the eponymous novels of Julia Quinn. Set in
early 19th century England, it’s more a fantasy history, with
persons of colour and different ethnicities occupying lead roles in
aristocratic high society. That includes
Queen Charlotte whose outlandish adorned wigs are a sight to behold. [For
commentary see: https://www.oprahmag.com/entertainment/tv-movies/a35083112/bridgerton-race-historical-accuracy/.]
Plenty of racy scenes add erotic spice
to the narrative, along with the titillating gossip aroused by an eagerly read “Society
Papers” scandal sheet from a mysterious “Lady Whistledown” (voiced by series
narrator Julie Andrews). As in a Jane Austen novel, finding the right match for
young ladies of marriageable age is a running theme. Most attention falls on eldest daughter
Daphne Bridgerton (Phoebe Dynevor), protected by rakish elder brother Anthony
(Jonathan Bailey) who goes up against a handsome eligible Black man, Simon,
Duke of Hastings (Regé-Jean Page). Although
a Prussian prince enters the picture fleetingly, it’s the Daphne and Simon
story that captivates even as further fraught liaisons stir the Bridgerton’s
social circle. Matters of consequence continue into the last episode’s closing
minutes, making for a delicious viewing indulgence in anticipation of season
two.
Sylvie’s
Love (U.S. 2020, Amazon Prime Video) B+
From
writer-director Eugene Ashe, this Sundance selection is largely an African
American story that opens in 1962 in Harlem where Sylvie (Tessa Thompson)
watches TV in her dad’s record shop.
It’s where she connects with Bobby (Nnamdi Asomugha), ace saxophone
player in a jazz combo with aspirations to be a band leader recording his own
songs. Although Sylvie is engaged to
someone else, she gets pregnant by Bobby, then conceals the fact as he heads
off to a gig in Paris. Jump ahead five years and Sylvie is married to Lacy
Parker (Alano Miller) with a daughter Michelle.
Sylvie, an assistant to the producer of a TV cooking show, has developed
her own successful career. Another side
angle involving her cousin Mona links to the civil rights movement. However, as
the movie’s title suggests, the main focus remains on “man of her dreams” Bobby. After they reconnect it’s no surprise when
Sylvie splits from Lacy. Bobby pretends
to have a job lined up in Detroit’s Motown.
But jazz has given way to pop rock.
So he becomes an auto worker instead.
In place of a dream ending, another chapter begins in the Sylvie and
Bobby story.
***
I
was so keen to see the documentary Boys State that I started a 7-day
free trial of Apple TV+ and took advantage to view a half dozen titles as
follows. (There are also multiple series I have yet to sample.)
Boys
State (U.S. 2020, Apple TV+) A+
Deserving
winner of a Sundance grand jury prize, this outstanding documentary is helmed
by the team of Amanda McBaine and Jesse Moss (The Overnighters). It also won an award at Austin’s South By
Southwest festival during which I have had occasion to visit the legislative
rooms of the Texas Capitol where the main action takes place. Since the 1930s the American Legion has been
supporting these exercises in democratic governance by teenage students. So imagine a thousand 17-year old boys
brought together for a not always fully civil exchange, divided into two
contending parties the “Federalists” and the “Nationalists”. Indeed the film opens with this 1796 warning
by George Washington: “[Political] parties are likely to become potent engines
by which cunning, ambitious, and unprincipled men will be enabled to subvert the
power of the people and to usurp for themselves the reins of government.” (And
what about a conniving “populist” like Donald Trump who, in the name of the
people, captures a party in a cult of personality and then uses personal power
to subvert the institutions of government?)
Apparently the 2017 Texas boys assembly notoriously voted to secede, and
the manoeuvrings captured here are from the 2018 session. We get fascinating
insights into the often boisterous, raw and raucous proceedings as strategies
play out in formal assemblies and in the back corridors. With everyone wielding
smartphones, social media smear tactics are among the political arts. The filmmakers focus on a few subjects for
compelling personal stories reflecting the diverse backgrounds of the
participants. It turns out that a disabled
boy Ben Feldstein (a double amputee in fact) is one of the most conservative
and unscrupulous operators, in contrast to a Mexican-American candidate for
governor Steven Garza. As scheming boys play
political games one is reminded that they are soon-to-be actual voters. That may be a scary thought, but it’s also
the enduring challenge of mass democracy which, as Churchill once said, is “the
worst system of government except for all the others.”
Greyhound
(U.S./Canada/China
2020, https://www.greyhound.movie/
Apple TV+) A-
This
is the first of two 2020 Tom Hanks starring roles to draw deserved
admiration. Set during the World War II
Battle of the Atlantic, Hanks plays Naval Commander Ernest Krause, a man of
deep faith who is charged with protecting vital convoys of ships making the
treacherous crossing from the marauding “wolfpacks” of German U-boats who send
out chilling messages to their targets. Though not as viscerally intense as
Hank’s memorable role in Saving Private Ryan, we get a sense of the high
stakes and ever-present dangers when a torpedo hit leads to a funeral service
and burial at sea. With a screenplay by Hanks himself, adapting C.S. Forester’s
1955 novel “The Good Shepherd”, director Aaron Schneider delivers a compelling
war drama, and who better than the reliably upstanding Hanks to portray the
role of trusted captain?
WolfWalkers
(Ireland/Luxembourg/France/Denmark/UK/U.S.
2020, Apple TV+) A+
Among
last year’s best animated features this folkloric Celtic fable set in 17th
century Kilkenny, Ireland (where production company Cartoon Saloon is
headquartered) rates a close second. From Tomm Moore and Ross Stewart, creators
of The Secret of the Kells, the 2D animation is a wonder of enchantment.
A stern English ‘Lord Protector” exercises colonial control that includes ridding
the woods of wolves. Up against that are
the central female characters—Robyn, daughter of a hunter, and the wolfish Mebh
who wants to rescue her mother. From Mebh, Robyn discovers the secret of
wolfwalkers (humans who transform into wolves while asleep). When Robyn escapes
scullery duty and acquires wolf vision these new powers work their charms. The
wolf howls are not to be feared as the tale of Robyn and Mebh’s alliance casts
a truly magical spell.
Hala
(U.S.
2019, Apple TV+) A
This
semi-autobiographical coming-of-age drama from writer-director Minhal Baig
centres on a teenage Muslim girl Hala Masood (Geraldine Viswanathan), only
child of Pakistani immigrant parents.
Her strict mother speaks only Urdu to her. Hala faithfully wears a hijab. At the same time she’s also a skateboarder
who discovers sex with a first boyfriend, a classmate Jesse played by Jack
Kilmer. (I discovered that Kilmer shares my birth date of June 6, just 43 years
younger!) When Hala causes potential
trouble for a sympathetic teacher, her mother gets called in. But resisting the pressures from a family
that itself won’t hold together, Hala is determined at set her own course.
Dads
(U.S.
2019, Apple TV+) A-
From
director Bryce Dallas Howard, daughter of director Ron Howard, who started as a
child actor, comes this affectionate and appealing look at fatherhood. There is
a nostalgic element given that some of
the dads profiled (including Ron) are well-known American showbiz
figures. Athough the vibe tends toward
inspirational and aspirational over incisively insightful, there are some
heavier issues engaged. And among the dads are a Brazilian blogger,
stay-at-home dads, foster dads, and gay dads, so this isn’t just a tribute to
whitebread “father knows best” convention.
Beastie
Boys Story (U.S. 2020, https://blog.beastieboys.com/
Apple TV+) A-
Collaborator
Spike Jones has fashioned this tribute from the 2019 live stage shows presented
at Brooklyn’s King’s Theatre by Adam Horovitz and Mike D, the surviving members
of the ‘Beastie Boys” trio of Jewish New Yorkers that emerged on the pop scene
in the late 1970s and achieved major success as a rock-band amalgam of punk,
rap and hip-hop until creative force Adam Yauch (aka :MCA”) died of cancer in
2012. The only music is from archival
clips as introduced by Adam and Mike covering the band’s turbulent
history. (If interested in details see: https://en.wikipedia.org/wiki/Beastie_Boys.)
I never listened to them, much less was a fan, but found the show surprisingly
engaging.
The
King of Staten Island (U.S. 2020, https://www.uphe.com/movies/the-king-of-staten-island
Crave) C+
From
Judd Apatow, this is another typically vulgar and overlong semi-comedy. The central character Scott Carlin is played
by co-writer and Saturday Night Live cast member Pete Davidson as a version of
himself. (Davidson lost his father Scott,
a firefighter, on 9/11, and this Scott’s father is also a firefighter who was
killed on the job.) The gawky Scott, covered in tattoos, is a 24-year old
man-child stoner who lives with his mom Margie (played by Marisa Tomei) while
having casual sex with girlfriend Kelsey (Brit actress Bel Powley). Although he
has a job waiting tables, he’s basically a loser with health issues and few if any
prospects. Some potential developments
arise after Margie gets a new man in her life, amiable bald-headed Ray (Bill
Burr), also a firefighter. But I didn’t care enough about this “king” to wonder
if her will ever grow up.
*Note:
News of the World will not be released widely until mid-January
but you can watch a 37-minute conversation with lead actor Tom Hanks here: https://collider.com/tom-hanks-interview-news-of-the-world/.
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