Film Fest 919: Dispatch 4
Coming-of-age period pieces have rarely been as engrossing as Armageddon Time, writer/director James Gray’s fictionalized account of his early ’80s childhood in Queens. As Gray stand-in Paul Graff, Banks Repeta (The Black Phone) gives an authentic bratty teen performance — one that, thanks to the surrounding elements, nevertheless makes one want to see him grow up and drop his destructive, immature ways.
Whether testing boundaries with troubled Black classmate Johnny (magnetic newcomer Jaylin Webb), or causing various other headaches for his parents (Anne Hathaway and Jeremy Strong), Paul’s erratic behavior as he makes sense of the world and pursues his artistic dreams yields plenty of Holden Caulfield-like delights. But the real star — besides the one-two punch of Gray and cinematographer Darius Khondji — is Anthony Hopkins, who commands each of his scenes as Paul’s maternal grandfather, and should be in the Supporting Actor conversation this awards season.
Grade: A. Rated R. In theaters Nov. 4
Michael Gibson/Orion Releasing
Women Talking may be based on Miriam Toews’ novel, but Sarah Polley’s return to her Away From Her form after the middling Take This Waltz and Stories We Tell feels like it’s based on a play. The key scenes of a group of women deciding whether to leave their oppressive Mennonite-like colony lend themselves to a single setting, and Polley’s richly drawn characters and razor-sharp dialogue could easily translate to the stage.
But in its current cinematic edition, it’s a pleasure to witness the material enacted through the director’s lens by a strong ensemble cast and with certain flourishes that likely wouldn’t work as well in other art-forms. Part of the decision being a communal one is that no single woman takes the lead, though Claire Foy’s Salome is the most fiery of the bunch, Jessie Buckley’s Mariche the saltiest, and Rooney Mara’s Ona the calm eye of the hurricane. The surprisingly minimal use of Frances McDormand, however, remains a mystery, though Ben Whishaw’s turn as the excommunicated August, the film’s lone seen adult male, nicely compensates for her absence.
And while the murky cinematography proves occasionally frustrating — whatever the opposite of “magic hour” is, that’s when this dimly lit film was shot — it gradually reveals itself as a fitting visual metaphor for the dark circumstances in which the women find themselves. In turn, we can’t help but cheer for them to find the light they so desperately seek.
Grade: A-minus. Rated R. In theaters Dec. 25.
John Wilson/Netflix
Moviegoers who were impressed by the overrated Knives Out just might be in danger of their heads exploding if/when they watch the vastly superior Glass Onion: A Knives Out Mystery. For Round Two with world-famous detective Benoit Blanc (Daniel Craig), writer/director Rian Johnson feels far more confident in this world, willing to take risks and experiment with whodunnit conventions to a much greater extent than he did three years ago.
Playing with Netflix’s money may have something to do with that conviction; it certainly allows Johnson to craft an expensive-looking film in which Miles Bron (Edward Norton) and friends partake in an extravagant murder mystery game weekend on the tech billionaire’s Greek island. In the build-up to departure and especially at the elaborate estate, joys are rampant thanks to top-notch ensemble work from Kate Hudson, Leslie Odom Jr., Janelle Monáe, Dave Bautista, Kathryn Hahn, Jessica Henwick (The Gray Man), and Madelyn Cline (Boy Erased), plus a few fun cameos.
To say more would spoil that fun, and viewers deserve to experience Johnson’s best film since Looper without such impediments.
Grade: A-minus. Rated PG-13. In theaters Nov. 22. Available to stream on Netflix starting Dec. 23.
(Photo: Anne Joyce/Focus Features)
