Butch Cassidy and the Sundance Kid (B). Well, I’m trying to get back into the swing of regular moviegoing, so I decided to see if the Magnolia Theater is still running its classic-movie series on Tuesday nights. Lo, it is, and I caught this 1969 Western this past Tuesday. I had never seen it before and still don’t quite know what to make of it. It stars Paul Newman (Cat on a Hot Tin Roof) and Robert Redford (Captain America: The Winter Soldier) as the outlaws of the film’s title, and as best I can tell from extensive Wikipedia research the movie is actually fairly true to history. It’s the late 1890s, and Butch, the Kid, and their Hole in the Wall gang are making a living robbing banks and trains—until they irritate some big plutocrat and he hires a very dangerous posse to bring them to justice. So, in the interest of self-preservation, they make some unusual career choices after that. Although IMDB.com categorizes the film as “Biography, Crime, Drama,” it has a strong comedic element, with Newman providing lots of amusing dialogue, Redford being amusingly laconic, and an oddly jaunty soundtrack playing in the background. (“Raindrops Keep Fallin’ on My Head” won an Oscar.) And yet, there is quite a bit of shooting and killing, albeit with very little blood visible. Katharine Ross of The Graduate fame drops in for a while as the Kid’s love interest, but Butch shows more interest in her than the Kid ever does, and really this movie is a bromance between Butch and the Kid from start to finish.
Anyway, the film held my interest, but I still think it’s kind of an odd bird. It’s #73 on the American Film Institute’s 2007 list of the 100 greatest American movies, so I guess it’s a classic.
Cruel Intentions (D). I wanted to go see a movie, but no current releases were really grabbing me. I noticed that this flick was in re-release for its 20th anniversary, and I remembered seeing and liking Dangerous Liaisons (on which it was based) many, many years ago, so I gave it a try. Well, it’s not so great. Sarah Michelle Gellar (I Know What You Did Last Summer) and Ryan Phillippe (Crash) star as conniving and wildly promiscuous step-siblings who love to seduce and ruin other young people. None of it is believable in the least, but Gellar and Phillippe’s interactions are somewhat amusing, and it’s also entertaining to watch Gellar try and fail to be a convincing bad girl. Reese Witherspoon (Just Like Heaven) is okay as a wholesome Midwestern gal that Phillippe sets out to ruin and accidentally falls in love with. Poor Selma Blair (Hellboy) has a thankless role as a dimwitted naif that Gellar’s character wants Phillippe to ruin. Not worth the $14+ I paid to see it, that’s for sure. I usually go to matinees; when did normal movie tickets get so expensive?
Autumn Sonata (C). I have a shelf full of classics by the Criterion Collection, and it is high time I got more use out of them. So I pulled down this one, which is now the first Ingmar Bergman movie I have ever seen. It was a good choice for a cold, grey January morning. Autumn Sonata is a claustrophobic little family drama centering on the painful relationship between a woman and her grown daughter. Ingrid Bergman (Gaslight), appearing in her last theatrical release, plays the mother, Charlotte. She’s a world-class concert pianist, and it doesn’t take us long to figure out that her art always took precedence over her husband, her daughters, and pretty much everything else. Liv Ullman (Lost Horizon) plays her daughter, Eva, who is married to a minister in a small rural town. Charlotte and Eva haven’t seen each other in seven years, and when Charlotte accepts Eva’s invitation to come visit it doesn’t take too long before the two are hurting each other all over again. It’s a very talky movie, with some long monologues and lots of extreme close-ups. I didn’t love it, but it was worth seeing. The Criterion Collection version I own is a two-DVD set that include a three-and-a-half-hour “making of” documentary on disc two. I’m not sure I’m ever going to get around to watching all the bonus content….
The Greatest Showman (B). This musical has done only so-so with the critics (Metacritic.com score 45/100 last time I checked), but I must say that I was entertained. The versatile and (to me) eminently likable Hugh Jackman (Logan) stars as P.T. Barnum in a film that is apparently very loosely based on the real Barnum’s life. It is exceptionally sentimental, setting up all sorts of underdogs for us to root for—the impoverished child Barnum in love with the daughter of a rich meanie, the slightly less impoverished adult Barnum hatching his first scheme to entertain the masses, the gaggle of differently abled people (unkindly called “freaks” by some characters) Barnum recruits for his show, and even an inter-racial potential couple. There are lots of songs, and I must say they mostly sounded kind of the same to me. And the big song-and-dance numbers featuring Barnum’s performers resemble the big song-and-dance numbers you might see on “Dancing with the Stars,” and the lights and noise pretty well bludgeon you into submission. Michelle Williams (Oz the Great and Powerful) isn’t given much to do as Barnum’s wife, but Zac Efron (Neighbors) and the formerly unknown to me Zendaya (Spider-Man: Homecoming) have nice supporting roles and a nice musical number together. If you don’t mind a little sap and a little schmaltz, I say give The Greatest Showman a chance.
Three Billboards outside Ebbing, Missouri (B). This is a tense, Coen-esque drama/black comedy from Martin McDonagh, who also wrote and directed Seven Psychopaths and In Bruges. Frances McDormand (Fargo) stars as Mildred Hayes, a small-town divorcee who is consumed with grief over the unsolved rape and murder of her teenaged daughter Angela several months earlier. Frustrated with local law enforcement, she rents three billboards just outside of town and posts an inflammatory message aimed at police chief Willoughby (Woody Harrelson, War for the Planet of the Apes). Willoughby is offended but understanding; his violent, racist underling Dixon (Sam Rockwell, Laggies), on the other hand, is infuriated and liable to lash out in any available direction. The ripples spread through the small town of Ebbing as Mildred persists in keeping the billboards up, and secrets are gradually revealed. Great performances from the three main actors, and nice supporting work from some others as well, including Peter Dinklage (The Station Agent), Abbie Cornish (Limitless), and Lucas Hedges (Moonrise Kingdom). But a couple of noticeable flaws (such as Willoughby’s weird use of extreme profanity not just around but at his two adorable little girls) keep this movie out of the top tier, in my opinion. Still, worth checking out. Rated R for violence, language throughout, and some sexual references.
Lady Bird (B+). Indie actress Greta Gerwig (Mistress America) wrote and directed this indie dramedy about a high-spirited girl’s tumultuous senior year in a Sacramento Catholic school and her rocky relationship with her mother. I enjoyed it, and it moved along with a brisk 94-minute run time. Saoirse Ronan (The Way Back) shines as the title character (she’s named Christine McPherson, but she insists on being called Lady Bird), and we follow the ups and downs of her experience in Drama Club, her crushes, her relationship with her best friend Julie (Beanie Feldstein, Neighbor 2: Sorority Rising), her college aspirations, and most of all her relationship with her mother, a hard-working and long-suffering psychiatric nurse (Laurie Metcalf, TV’s Roseanne). Based on Ms. Gerwig’s IMDB biography, I’d say this movie has a strong autobiographical component. It also has a 94 score over on Metacritic.com, so what are you waiting for?
The Killing of a Sacred Deer (D). OK, this art-house flick had a couple of things going for it. Number one, it was directed by Yorgos Lanthimos, who directed the surpassing weird 2016 flick The Lobster. And really number one, it stars the luminous Nicole Kidman (Moulin Rouge!). Unfortunately, the movie left me cold. Colin Farrell (who was in The Lobster and recently appeared with Kidman in The Beguiled) plays Steven Murphy, a successful heart surgeon who is married to a successful eye doctor (Kidman) and has a beautiful house and two nice kids. But as in The Lobster, everything is just a shade off; everyone is stiff, and every conversation is stilted. And Steven has a mysterious relationship with an odd sixteen-year-old boy named Martin (Barry Keoghan, Dunkirk), who imposes himself on Steven more and more as time passes. I can say no more without committing spoilers, but suffice to say there are elements of suspense, horror, and black humor that get ratcheted up the deeper into the movie we go. The performances are good (accepting that the director wanted his actors to act like strange, semi-anesthetized human beings), and none other than good old Alicia Silverstone (Clueless) pops up as Martin’s mom. But at two hours the weirdness went on a little too long for my taste, and I didn’t think the ending was great.