Passengers [2016]

MPAA (PG-13)  CNS/USCCB (A-III)  RogerEbert.com (1 1/2 Stars)  AVClub (C-)  Fr. Dennis (3 1/2 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (K. Turan) review
RogerEbert.com (G. Kenny) review
AVClub (K. Rife) review


Passengers [2016] (directed by Morton Tyldum, screenplay by Jon Spaihts) is IMHO an excellent teen-oriented discussion piece even as it will INFURIATE and quite possibly OFFEND many viewers.

The premise is the following: The sleek and luxurious star ship Avalon is quietly hurling at 1/2 the speed of light, guided by artificially intelligent autopilot, on a 120 years voyage from Earth to another world called Homestead II, its 200+ crew and 5000 passengers to be kept in suspended animation for all but the last 4-5 months of the trip.

Well, 30 years into the voyage, the star ship encounters a freak meteor storm larger than its design specifications, partially damaging the vessel.  The ship's artificially intelligent operating system(s) quickly move to compensate, keeping the ship on-course for its destination and restoring, more-or-less the ship's other other functions, 'cept ... one of the passenger hibernation pods, that of Jim Preston (played by Chris Pratt) malfunctions, awakening him early ... 90 years early.   Soon to his horror Jim discovers that there's NO WAY for him to go back to hibernation.

So he finds himself alone on this sleek, ultramodern, glass-and-titanium, coffin-of-a-cruise ship/star ship with only an amiable android-of-a-bartender named Arthur (played wonderfully by Michael Sheen) to keep him company -- Robinson Crusoe [wikip] [IMDb] meets Lost in Space [wikip] [IMDb] ...

But, of course, Arthur's NOT "human."  (At one point, when Jim finds himself in an all-but-inevitable existential panic attack, the ever unflappable Arthur, calmly responds to his angst filled questions, noting: "Jim, those aren't robot questions, are they?")

This NEW _ADAM_ (Genesis 2:18), Jim is _increasingly tempted_ to ... wake-up one of the other passengers to give him company.  THIS IS, OF COURSE, THE BIGGEST MORAL PROBLEM WITH THE FILM ... BUT ALSO _EXACTLY_ ITS POINT.

He in GOD-LIKE FASHION _chooses_ to awaken a woman named Aurora Lane (played as ever wonderfully by Jennifer Lawrence) who would have been _out of his league_ in other circumstances (he a mechanical engineer, she a writer-socialite from a rich family).  By doing so, he, of course, CONDEMNS HER _TO HIS SAME FATE_.  SHE, like him, is now going to DIE on this ship before it arrives at its destination -- _HER_ DREAMS RUINED BY _HIS_ DECISION -- BUT HE will not be Alone.

The film asks, clearly, WAS THAT A LEGITIMATE DECISION?  And then, honestly, IS THAT SIN / TRANSGRESSION ... FORGIVEABLE?

It seems clear to me from a number of the reviews (above) that many would find Jim's action simply UNFORGIVABLE / IRREDEEMABLE.  But then without the capacity to forgive and perhaps setting-out (alone or together) to build a future different from the one that one had previously planned, perhaps we'd all find ourselves on a cold if perhaps comfortable COFFIN-of-a-star-ship inexorably hurling to ... NOWHERE / INEVITABLE DEATH.

IMHO, an _excellent_, thought-provoking film.


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Rogue One: A Star Wars Story [2016]

MPAA (PG-13)  CNS/USCCB (A-II)  RogerEbert.com (3 1/2 Stars)  AVClub (B)  Fr. Dennis (3 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (J. Chang) review
RogerEbert.com (M. Zoller Seitz) review
AVClub (I. Vishnevetsky) review

AdoroCinema.com press*
AlloCine.com press*
CSFD.cz press*
filmibeat.com press
film-zeit.de press*
Kritikanstvo.ru press*


Rogue One: A Star Wars Story [2016] (directed by Gareth Edwards, screenplay by Chris Weitz and Tony Gilroy, story by John Knoll and Gary Whitta, based on the characters created by George Lucas) _promised_ "A Star Wars Story" OF A DIFFERENT KIND.  And even respecting the general arc of the Original Story, the possibilities were grand.  George Lucas' franchise had, after all, created a literally an entire Universe, er "Galaxy" of potential stories.  Did it succeed?  IMHO, yes and no.

Yes, the current story is notably darker (perhaps post 9/11, post-Hunger Games [2012-2015] darker) than the original Star Wars Trilogy (Episodes IV-VI) [1977-1983] which if placed in the arc of the Overall Star Wars Saga it immediately predates.  In the current story, the Empire was clearly Dominant, its Opposition still reeling, splintered, disorganized.  To put the Opposition down forever, the Empire was just building The Death Star, a fearsome weapon of truly Massive Destruction.  A defector from the project (played by Riz Ahmed) described it to still uncomprehending members of said disorganized Rebel Alliance as "A Planet Killer."  Only when a city near one of the bases of the Rebel Alliance was destroyed by it in a tsunami of earth and molten lava (the special effects here and throughout are simply outstanding) did both Rebel Leaders like Saw Gerrera (played by Forest Whitaker), the leader of a radical splinter group in the Opposition as well as several "smaller people" like Jyn Erso (played wonderfully by Felicity Jones) and Cassian Andor (played by Diego Luna) come to appreciate what was at stake.

What to do?  How to respond?  Well that's the rest of the movie ...

MY disappointment (somewhat) as I watched the current film was that it still ADHERES TOO CLOSELY to the OVERALL ARC OF THE ORIGINAL STORY.   Here was a GALAXY OF POSSIBILITY for _original storytelling_, and THIS STORY STILL CHOSE TO PUT ITS FOCUS ON "THE DEATH STAR."   I would have been much more impressed if the current film had been simply about "a small band of rebels" coalescing / fighting the Empire at some rather far / random edge of the Galaxy, with the "Death Star" given at most passing mention or NOT EVEN AT ALL.  PERHAPS the upcoming film about Han Solo [2018] will be more of that kind of a story ...

Still, that George Lucas' Star Wars Saga has produced this kind of "anthology film" at all, is quite impressive and bodes well for future storytelling as well.  I'd love to see still more done with the aforementioned Hunger Games series.  How did THAT fascist-like state come about?  And what of then the stories of any number of potential characters from any number of the "districts" in that story.  Similarly explorations of "Middle Earth" need not end with the exhaustion Tolkien's Hobbit and LOTR trilogy.  The story-telling possibilities there could be endless as well.

So over all, while I enjoyed the the current Star Wars "Anthology" film, I still believed "more could have been done" by _more boldly_ choosing to go off the already beaten path.

But I wish to end with mention of my favorite character in the current film, the blind Jedi monk Chirrut Îmwe (played by Donnie Yen).  A quite alone / scattered surviving member of the then persecuted / decimated Jedi Order, when in crisis, to give him courage, he would oft repeat to himself the mantra: "I am one with the force, and the force is with me."  To my Catholic / Christian ears, I hear the first line of Psalm 23: "The Lord is my Shepherd, I shall not want ..." which in the whole Judeo-Christian Tradition has been used for millenia _for exactly the same purpose_ (to give solace and courage) as well ;-)

Overall ... good / great job!


* Reasonably good (sense) translations of non-English webpages can be found by viewing them through Google's Chrome browser. 

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Nocturnal Animals [2016]

MPAA (R)  CNS/USCCB ()  RogerEbert.com (3 1/2 Stars)  AVClub (B)  Fr. Dennis (4 Stars)

IMDb listing
CNS/USCCB () review
Los Angeles Times (J. Chang) review
RogerEbert.com (G. Kenny) review
AVClub (I. Vishnevetsky) review


Nocturnal Animals [2016] (screenplay and directed by Tom Ford based on the novel Tony and Susan (1993) [GR] [WCat] [Amzn] by Austin Wright [wikip] [GR] [WCat] [Amzn] [IMDb]) is an extremely well written / well acted, R-appropriate thriller about a bored and unhappy middle-aged Los Angeles art dealer named Susan Morrow (played quite magnificently by Amy Adams) who is, one day, blithely surprised to get a manuscript for a novel in the last stages before being published from her first husband Edward (played by Jake Gyllenhaal) who she had left and not heard from for nearly 20 years.  Enclosed is a small card from said first husband, and turning to the first page of the manuscript, she finds that the book is dedicated to her ...

The novel, quite shockingly violent, about a random "Texas suburban folk" family in a several-years old Mercedes who find themselves harassed, stopped and, of course, worse ... by a trio of drunk / crazed rednecks in a beat-up rednecky muscle car on a lonely stretch of an interstate somewhere amidst the parched / dry land and tumbleweeds of West Texas one fateful evening, DOESN'T DIRECTLY CORRESPOND to Susan / Edward's "past history" together, BUT ... riveted, in a dread-ful(l) sort of way, Susan can't bring herself to put the manuscript down.

And as she reads said, awful(ly) violent, yet as utterly riveting as "a car-wreck on the highway" of a novel, we Viewers are treated to the interplay of three stories -- (1) that of Susan's current dreadfully boring and perhaps "PAST her prime" life where Susan's primary concern seemed to have been reduced to finding a way (if she felt there was a point...) to confront her still "quite-the-looker" salt-and-pepper-haired, the occasional wrinkle actually _enhancing_ the attractiveness of his smile, "Richard Gere" of a second husband named "Hutton" (played by Armie Hammer) on his more-or-less obvious infidelities towards her, (2) a recollection of the circumstances of how Susan and Edward, her _only now_ about to be published, 20-years-after-she had left him "aspiring novelist" of a first husband had met ... and eventually broke-up (again, it was she who had left him...), and (3) the story of this terribly violent nightmare of a novel.

Call it A SPIKE _driven_ into the Subconscious of a late-40 year old, this is _not_ a pretty story. Indeed, from the very first scene, it is a _quite ugly_ one.  But it is IMHO one _well written_ and _well acted_ piece.

NOT for ANYONE under 30, it's still one heck of a story.


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La La Land [2016]

MPAA (PG-13)  CNS/USCCB ()  RogerEbert.com (3 1/2 Stars)  AVClub (A-)  Fr. Dennis (4+)

IMDb listing
CNS/USCCB () review
Los Angeles Times (J. Chang) review
RogerEbert.com (B. Tallerico) review
AVClub (A.A. Dowd) review


La La Land [2016] (written and directed by Damien Chazelle) is a lovely, generally happy, sometimes poignant tribute to both "growing up" and L.A. that is already getting a _completely deserved_ El Niño scale downpour of deserved Awards nominations.  Yes, there are still a whole bunch of films to see before the curtain falls on this year's Award Season contenders, but this hands-down would be my vote for Best Picture of the Year. 

Part of what made this film work so well for me is that I KNEW THE LOS ANGELES PORTRAYED in this film WHEN I MYSELF WAS IN MY TWENTIES going to grad school at USC in the mid-late 1980s.   Every other waitress at Carrows' or Denny's across L.A. was like Emma Stone's aspiring-actress character Mia (in her current incarnation working as a barrista at a Starbuck's like cafe' on Universal Studio's lot).  And one of the few moments of sadness that I've felt since returning to Southern California (after 25 years) to take-on an assignment at a parish of ours, St. Philip Benizi, in Fullerton, CA, was hearing that Gorky's Cafe, a place where one could reliably have great in-house brewed beer (_long before_ microbreweries even existed) with some great borscht (the only place that could compete with my mother's) while listening to great Jazz at 2-3-4 AM on any Friday or Saturday night, had _closed_ some years ago.  What a tragedy, what a cultural loss.  Hence I could feel Ryan Gosling's character Sebastian's pain, as he dreamed of re-opening "a _real_ Jazz club," as well ;-). 

The the film's locations were truly iconic:  I drove that _insanely high_ 110 Harbor Freeway-105 interchange where the film's traffic jam / opening "dance number" was staged ON MY WAY TO SEE THIS MOVIE ;-).   Thirty years ago, I bought an old SLR camera from a shady dealer at Crazy Giddeon's on Hollywood Blvd, my sister, visiting from Chicago, beside me, PRECISELY TO TAKE PICTURES of "L.A. at Dusk" from the HOLLYWOOD HILLS protrayed so nicely (and so precisely at _exactly_ the right time of early-evening-turning-to-night) in the film.  I knew the then iconic beach bars (by legend "where the Beach Boys started") just off of Hermosa Beach's Pier, where Sebastian takes a contemplative stroll at one point in the story.  The film got the region's psychic geography completely right. 

And then there's the story.  Both Mia and Sebastian are in their twenties, today.  Both have their dreams, dreams that kinda intersect, kinda don't, and we watch their stories play-out, even as we recall similar dreams / stories that we had when we ourselves were young(er). 

And yes, when one's talking about dreams / memories ... a "sound track," at minimum, is required ;-).

Simply a spectacularly beautiful / nice film!  Great, great job!


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Miss Sloane [2016]

MPAA (R)  CNS/USCCB (A-III)  RogerEbert.com (2 1/2 Stars)  AVClub (C)  Fr. Dennis (3 1/2 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (J. Chang) review
RogerEbert.com (S. O'Malley) review
AVClub (J. Hassenger) review


Miss Sloane [2016] (directed by John Madden, screenplay by Jonathan Perera) is a dark, monstrously calculating, "House of Cards"-like contemporary political thriller that will challenge _anyone_ thinking of committing oneself to enter the halls of government to seek to work for the greater common good.  Yet, I do believe that it's better to _know_ what "one's up against" before entering such political life than to enter such life naively.  Still, a better (and certainly far more constructive) education can be found in the documentary series 12 Stories: How Democracy Works Now [2010] [WorldCat.org] one which one should be able to find and borrow through one's local public library.

The current story centers on Elizabeth Sloane (played as always to Oscar nomination worthy heights by Jessica Chastain, _well_ on her way to becoming Meryl Streep's successor as perhaps the best actress of her generation).  Miss Sloane, MISS because, driven as she was, she apparently never had interest in marriage / family / etc, is a ruthless, well on _her_ way legendary WASHINGTON LOBBYIST who prided herself on  _NEVER_ LOSING -- contemporary Democracy's "power behind the throne," contemporary Democracy's Lady MacBeth, who though it's never mentioned could _easily_ have held Sun Tzu's The Art of War [wikip] [GR] [WCat] [eBook] as _her_ Bible -- "Never, ever let them surprise you, but wait and surprise them." 

At the beginning of the film, the Gun Lobby comes to The Firm where Miss Sloane works with a request: Already having a _lock_ on the nation's Congress, they would still like to extend their power by finding some way to 'sell guns' to _women_.  "Security moms" aside, women have been notoriously "soft" in their support / appreciation of guns.  Indeed, they tend to find guns ... well ... dangerous.  So trying to address this "negative image" that women would seem to have with guns, the Gun Lobby decides to explore the possibility of hiring The Firm where Miss Sloane works to see if they could "change such perceptions."  And yes, they're going to Miss Sloane's Firm in good part because SHE, assumed to be a Machiavellian "killer lobbyist," worked there.

YET ... both Miss Sloane's bosses (the head boss played quite excellently by character-actor Sam Waterson) and "head of the NRA"-like potential client (played by Chuck Shamata) are FRANKLY SHOCKED when Miss Sloane REFUSES the job.  She tells them quite matter-of-factly that she simply did not believe in their cause.  WHAT'S MORE, she takes the opportunity to do something EVEN MORE SHOCKING ... She decides to leave The Firm (with five of her assistants in tow) TO TAKE-ON the Gun Lobby instead.  WT ... ?

Fascinating is that that Miss Sloane does this NOT "for personal reasons" (she knew NO ONE personally who had suffered as a result of gun violence) but instead (1) as a result of _reasoned conviction_  (It _really_ made _no sense to her_ why one needs to get a drivers' license to drive, a pilots' license to fly, a medical degree to perform surgery, but any psychopath could go to a gun show and walk home with a military style assault rifle and all the ammunition that one could carry) and (2) she does it, well, for _the professional challenge_.  Remember, SHE NEVER LOSES.  As an "undefeated prize fighter," what bigger challenge in the Lobbying Field would there be than to take-on the Gun Lobby in Washington?  And so then ... it's "game on."

Now a LOT OF VIEWERS could really _get sick_ here.  Okay, the Cause is Just (and the Catholic Church in the United States has _regularly_ and _consistently_ spoken out for what would seem like common sense restrictions on gun ownership.  How could it not?  IT'S A CHURCH).  But look at The Cause's champion here: an ice-cold, thoroughly ruthless, professional lobbyist willing to do _just about anything_ "to win."  Is "winning" in such a no-holds-barred, throw anybody and everybody under the bus fight worth it?

Well that's the question asked ... and it's a very well written, well acted, if quite dark film.


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Jackie [2016]

MPAA (R)  CNS/USCCB ()  RogerEbert.com (2 1/2 Stars)  AVClub (A-)  Fr. Dennis (4 Stars)

IMDb listing
CNS/USCCB () review
Los Angeles Times (K. Turan) review
RogerEbert.com (M. Zoller-Seitz) review
AVClub (A.A. Dowd) review


Jackie [2016] (directed by Pablo Larraín, screenplay by Noah Oppenheim) is a powerful, often heart-rending / gut-wrenching movie about Jacqueline Kennedy scrambling, often, still in shock, simultaneously (1) to simply _get through_ the AWFUL hours / days after following her husband's John F. Kennedy's assassination (his head _exploded_ into her lap ...) and (2) trying to cement her husband's (and her) Legacy, his Time having been cut so tragically Short, before he / she / they would be Forgotten. 

If the second concern would seem surprising, the point is made in the film with the still seemingly shell-shocked Jacqueline (played to nobrainer Oscar Nomination levels by Natalie Portman) asking the driver of a limo, still presumably part of the presidential fleet, in the days after the assassination, what he remembered of James A. Garfield and William McKinley, both Presidents, both having been assassinated while being President.  The driver, of course, remembered next to nothing of the two, though, yes, he remembered Lincoln.  But then Lincoln prosecuted and won the Civil War and Ended Slavery in the United States, what did JFK really accomplish in his three years as President?   Perhaps he averted Nuclear War over Berlin / Cuba.  Perhaps he oriented the Country's space program toward the Moon.  Who could really know?  Who could really tell?  Who would really remember?  Why should we (Viewers) really care?

The last question is perhaps at the heart of the story here: Why should we care?  But I think we do, care.  We will ALL meet an End one day.  How do WE want to be remembered?    Certainly, almost none of us will be remembered as JFK (or Jackie) was.  But I do believe that most of us would certainly NOT want to just ... disappear.

EXCELLENT, thought provoking film about ... Legacy.


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Office Christmas Party [2016]

MPAA (R)  CNS/USCCB (O)  RogerEbert.com (2 Stars)  AVClub (C)  Fr. Dennis (2 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (K. Walsh) review
RogerEbert.com (S. Wloszczyna) review
AVClub (A.A. Dowd) review


Office Christmas Party [2016] (Josh Gordon and Will Speck, screenplay by Justin Malen, Laura Solon and Dan Mazer, story by Jon Lucas, Scott Moore and Timothy Dowling) is, obviously, NOT going to receive any Oscar Nominations.  It's not that kind of movie, it's not intended to be that kind of movie.  That said, what then is it intended to be?

The film continues in a surprisingly _long_ string of R-rated comedies about "grown-ups behaving badly."  But it's actually more complicated than that: It's part of a pretty impressive list of films about grown-ups finding themselves in any number of constraining circumstances who decide at some point in the story, early-or-late, to just say "WT..." and revolt against said constraints.  The list of films would include Bad Santa 1&2 [2003] [2016], Bad Grandpa [2013], Bad Teacher [2011], Horrible Bosses 1&2 [2011] [2014], Bridesmaids [2011],  Ted 1 & 2 [2012] [2015], Movie 43 [2013], Neighbors 1 & 2 [2014] [2016], Bad Moms [2016].  Like their similarly R-rated romantic comedic cousins -- No Strings Attached [2011] or Friends with Benefits [2011] come to mind -- there's a "Wouldn't it be nice?" quality to them: Wouldn't it be nice to tell one's boss what one really thought of him / her?  Wouldn't it be nice to tell someone's bratty kid what one thought of him / her?  Wouldn't it be nice to just pitch some film (or idea) that's just completely insane and leave it to one's "higher ups" try to guess if one's actually serious about it?

So this film is about a random, relatively small family-owned tech-firm based in Chicago, constrained by market forces to be increasingly cut-throat, that decides to say "WT..." and throw one EPIC ... "Office Christmas Party" ... Why?  Arguably "to save the company" ;-) by impressing some purchasing agent from some fairly large potential buyer that unlike the bigger tech players in the field -- Dell, HP, etc -- THEY still "care about people," caring expressed here by ... partying.  

The premise here is not entirely bad.  Corporate culture can be mind-numbing / soul-killing.  It's just that the partying displayed becomes _so crude_ that there's no way that this film could be shown to ANYBODY but adults and even then with REAL ISSUES:  At one point in the film, the revelers are shown chugging some sort of a slurried alcoholic concoction through a rather engorged d... of a rather horny-looking ice-sculpture.  Honestly folks, WHO WOULD DO THAT?  Especially since even in the film, every other employee has his/her smart phone out, clicking photos of their coworkers doing this.   Try looking for another job after THAT gets posted on Facebook...

But then that's part of the point.  The film is sooo over-the-top that there's no way it could be taken seriously.  Still it's also sooo over-the-top that, as childish / sophomoric as it is, it can't possibly be shown to anyone under the 17 of the R rating and even then with serious reservations.

Still, honestly folks, it's often very funny ...


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