Burden

First Hit: This is a compelling true story about racial change in a small South Carolina town.

The movie documents this story about how Mike Burden (Garrett Hedlund), who was part of the Ku Klux Clan, decides to change his beliefs and makes amends because of his love for a woman.

In this small town, the Klan is still alive and well. Tom Griffin (Tom Wilkinson) is the head honcho in more ways than one. He’s on the verge of opening a Ku Klux Klan museum in an old movie theater, and the most impoverished people in town rent furniture and televisions from him. His repossession rate for his rentals is high. He intimidates the town with this control.

Burden works for Griffin and is his prime repossessor. Griffin treats Mike like his own son. On one repossession, Burden meets Judy (Andrea Riseborough), whose current boyfriend is behind in his payments, and Burden takes the television. Judy throws a temper tantrum and storms out to the car. She attempts to drive off, but the car won’t start and Burden gets the car started for her. The looks they give each other show that there is going to be a connection.

Judy has a young boy whose best friend is a young black child. The relationship between the young boys is a reminder that when Burden was young, his best friend was Clarence Brooks (Usher Raymond), a black person. Clarence is working but having trouble making payments on a rented television. Mike has arrived to repossess the tv. Seeing Judy’s boy playing with Clarence’s son brings up memories of their past friendship, and conflicting feelings based on his current beliefs as a Klansman.

The town has a large black population that comes together at the church that is led by Reverend Kennedy (Forest Whitaker). Kennedy preaches love, forgiveness, and bringing people together non-violently. As you might expect, with the KKK museum opening in town, the black community is upset, and Kennedy leads the non-violent protest.

At one point, Judy puts it to Burden that he has to pick between her or his continuing to be part of the Klan. This choice begins Mike’s transition from his being Klan-oriented to seeing how it is hurting the community and people he cares about.

Hedlund was amazing as Burden. The way he talked, scattered his gaze when communicating with anyone, and how his walk embodied someone who was doing little to further himself was well done. As he found his voice, he showed subtle ways to make his character believable as he evolved. Whitaker was wonderous as the town’s reverend whose goal was to create a peaceful difference. When he brings unexpected guests home, the way he tries to make it right with his family was perfectly portrayed. Riseborough was terrific as Judy. She captured a young woman who stood for her beliefs and had enough compassion to let Burden find his way to her. Wilkinson was excellent and utterly horrible as the town’s Klan leader. He made me believe he was a Klansman. Andrew Heckler wrote and directed this true story. I loved seeing the real people at the end of the film as the credits rolled.

Overall: This was a wonderfully presented story about how racism tears communities apart and how love, forgiveness, and acceptance can put them back together.

The Death of Stalin

First Hit: There are very funny moments, but I couldn’t help but wonder was his regime filled with that much personal corruptness? Probably.

One of the beginning scenes has Stalin’s chief calling the radio station asking Andreyev (Paddy Considine) to call Stalin directly in 17 minutes. The ensuing discussion between Andreyev and Sergei (Tom Brooke), his co-producer, about when the 17 minutes are up was hilarious. Was it when the phone rang? Was it when he said call him back in 17 minutes? Was it when he hung up the phone?

This dialogue sets the stage about the power Stalin (Adrian McLoughlin) wielded in Russia. Everyone jumped at his every word and wanted to do no wrong or they’d be shot or sent to prison never to be heard from again. They had to get it right.

When Andreyev does call back and Stalin says he wants a recording of the live program he just heard them broadcast, they panic because they didn’t record the concert. So he rushes back into the concert hall, makes everyone sit down in their seats, and perform the concert all over again. Hilarious and pointed in that it notes the fear Stalin put into everyone.

Stalin’s governing group includes his Chief of Staff and second in command Georgy Malenkov (Jeffrey Tambor), Lavrenti Beria (Simon Russell Beale), Vyacheslav Molotov (Michael Palin), and Nikita Khrushchev (Steve Buscemi). This small group with a couple others are all vying to be the next in line and try to create power plays.

When Stalin has a stroke because of a note Maria Veniaminovna Yudina (Olga Kurylenko) sends him, the film then goes to additional funny scenes including Stalin’s governing group kneeling and not kneeling next to Stalin’s body as it lay there on the floor because he had pissed himself was hilarious.

The rest of the film deals with who will get control of the country and how will they do it. It plays through a funny set of scenes around Stalin’s lying in state and his funeral. There are so many funny bits in this film, I’d have to see it again to take it all in, but one thing is clear, what was portrayed was totally possible.

Considine was perfect as the befuddle producer who wanted to make sure he did what Stalin wanted. His questions to his co-producer and then the scenes of how he made the audience go through the performance again was priceless. Brooke was excellent as co-producer who knew well enough to only provide an opinion but not take any responsibility for the concert recording. McLoughlin was wonderful as Stalin. He even looked like some of the pictures I’d seen of him. His casual cruelty was clearly apparent. Tambor was particularly funny as second in command. Always walking a fine line and choosing many different sides as the film went on. Beale was perfect as the plodding technocrat looking for a leg up on the others in the ruling party. Buscemi was sublime as Khrushchev. His slow plotting a takeover obviously worked because he became the President of The Soviet Union. Kurylenko was wonderful as the piano player who instigated Stalin’s demise. Andrea Riseborough as Svetlana, Stalin’s daughter was wonderful. Armando Iannucci, David Schneider, and Ian Martin wrote an engagingly smart funny script. Plenty of history thrown was thrown into this mix of pointed funny scenes. Iannucci did a great job of directing this excellent comedy.

Overall:  This film has enough historical references to make it relevant and by adding comedy a fun way to see history.

Battle of the Sexes

First Hit:  Thoroughly enjoyable, entertaining and educational.

What makes this film work really well are the actors and clear direction that added insight into one of the most outrageous and important moments in women’s sports history.

Being old enough to recall the original battle of the sexes tennis matches (both one and two), it was important to make it true to the story while adding depth of character. That is what this film did. Learning more about Billie Jean King (Emma Stone), her husband Larry (Austin Stowell), Bobby Riggs (Steve Carell) and their paths was powerful, clearly defined and heartwarming.

King wanted equal money for the women who played in the same tournaments that men played in. Receiving less than 10% of what the men earned in winning the U.S. Open was degrading to women and women’s tennis everywhere. She wanted equal pay because they put people in the seats just as well as the men.

USLT (United States Lawn Tennis) leader, tennis great, Jack Kramer (Bill Pullman) told King that this wasn’t possible and that men were just better, stronger, and more interesting tennis players. Being rebuffed on her request, she and Gladys Heldman (Sarah Silverman), founder of World Tennis magazine decided to start their own tennis tour.

This tour got off to a rocky start but when Virginia Slims (cigarette maker) started sponsoring their events with real prize money, women’s tennis started to take hold and capture their supportive audiences.

Then there was incurable gambler Bobby Riggs who lived very well off of his wife’s money. Priscilla (Elisabeth Shue) loved her husband, his funny ways but struggled with his constant gambling. Fed up after he comes home with a Rolls Royce he won in a card game, she kicks him out of the house.

Nowhere to go, Bobby as a former Wimbledon singles, doubles and mix doubles tennis champion, he carries through with an idea one of his gambling buddies comes up with. Could a fifty-five-year-old former Wimbledon champ beat the best women’s tennis player? Capitalizing on this idea, he hounds Billie Jean to play him and offers her $35K. She refuses him and eventually Bobby calls on the new women’s #1 player, Margaret Court (Jessica McNamee) to take on the challenge. She does and gets publicly trounced by Bobby in two straight sets. As expected this hurts women's tennis and therefore Billie Jean decides to make this right.

All through this Billie slowly is discovering she is attracted to women, which in those days was not well accepted. The scene where Billie becomes gob-socked by her attraction to a woman was amazing. As she’s getting her hair done for photos just prior to their first Virginia Slims tournament, the hairdresser Marilyn Barnett (Andrea Riseborough), starts touching Billie’s hair and you can feel them both melt away. This was one of the best, most effective scenes in the film because of the acting and direction. I sat there and felt Billie Jean breaking down and opening up with barely any words spoken.

Of course, as we all know, after the Court fiasco, King plays Bobby and makes history.

The tennis was extremely well done. The director recreated many of the winning points just like they actually happened. Billie and women’s tennis did get invited back into the USLT tour for equal pay because of Billie Jean’s perseverance and skill.

Learning what drove Billie Jean as a little girl to excel in tennis, how her husband supported her throughout her personal discovery and how chauvinistic men thought of women was superbly covered.

Stone was amazing. The scene of her sitting in the hair salon meeting Marilyn for the first time was amazing. How she slowly evolved Billie’s character towards acceptance of both her tennis greatness and her attraction to women was sublime. Carell was perfect. He played Bobby just as we saw him on television. But what made this really work besides the physical likeness was giving his home life honest depth. Risenborough was wonderful as Billie’s first lover. Pullman was great as Kramer. Silverman was exquisite as the woman who put together the Virginia Slims tour together out of nothing. Natalie Morales as co-tennis player Rosie Casals was super. She reflected the persona of the real Rosie. Shue as Riggs wife was perfect. It was wonderful to see Shue again and her reflection of a wealthy woman of the era was spot-on. Stowell was good as Billie Jean’s understanding and supportive husband. McNamee was good as tennis rival Margaret Court. In real life Court’s current homophobic rants echo the subtle opinions her and her husband expressed in the film. Alan Cumming as Cuthbert ‘Ted’ Tinling tennis clothing designer for the women on the Virginia Slims tour was excellent. I liked his encouragement to King at the end of the film. Simon Beaufoy wrote an excellent script. He caught all the nuances of the time and I appreciated it. Jonathan Dayton and Valerie Faris as co-directors were spot on in all ways. I loved how they integrated television clips of the time, 1973, (Howard Cosell and Chrissy Evert among them) into a film made in 2017. Their vision was sublime.

Overall:  For anyone interested in knowing how today’s women’s tennis stars got the equal money recognition they deserve, see this film.

Birdman Or (The Unexpected Virtue of Ignorance)

First Hit:  One of the most amazing films I’ve ever watched.

What struck me and continues to strike me about this film was the way it was filmed. It is filmed like it all came from one camera with no edits.

Although I was amazed from the very beginning, there is a scene, where the camera is on a balcony ledge, looking up at a dark sky with a building in the background, the lights in the building change, the darkness of the sky changes to morning, and then the camera backs off the ledge moves down the building it was on and finally backs into Riggan’s (Michael Keaton) dressing room where the action picks up again.

The shot is phenomenal as are most of the shots in this film. What makes all this better is that the acting is also sublime.

This story about a man who wants to revitalize his acting career on Broadway after becoming famous as a superhero named “Birdman”. Not that the film is suppose to have a similar real life link to Keaton’s own acting life as Batman, - it does. But it is much more and deeper than this. It is about finding a place to be relevant and honest with oneself in some way.

Joining Riggan in the play he is putting on is Lesley (Naomi Watts) who has been striving her whole life to do an opening night on Broadway. Then there’s current girlfriend Laura (Andrea Riseborough) who wants to have a baby but struggles with Riggan’s inattention and is angelic in the play.

Lastly, on stage with him is Mike (Edward Norton) who is Leslie’s boyfriend and New York City stage actor supreme. His method rankles and enhances Riggan’s vision for the play. Although the story interacts with and at times becomes the story, the overall story is about Riggan becoming who he a man he likes and cares about.

Keaton is at his absolute best as Riggan and Birdman. He’s naked on the screen, we can see him. Watts is superb. Her execution of her role is perfect. Riseborough is great. The scene where she tells Riggan that she is pregnant is touchingly wonderful. Norton is beyond amazing. His command of the role is perfect. He shows just the right amount of arrogance and thoughtfulness. Emma Stone is truly a wonder. Her role as Riggan’s daughter is one of the most startling pieces of supporting work on the screen this year. Her hauntingly, desperate, and thoughtful view of the world is perfect. All of these actors gave Oscar worthy consideration performances. Zach Galifianakis as Riggans attorney and co-producer was also very, very strong. Alejandro Gonzalez Inarritu and Nicolas Giacobone wrote this amazing screenplay. Their use of words to make emotional points was spot on. Inarritu’s direction of the cinematographer, actors, and execution of the story will have him considered at Academy Awards time.

Overall:  An amazing piece of art, and that is what this film is, an outstanding and sublime piece of art.

Disconnect

First Hit:  A very good, interesting, powerful film about how our digital connections, and how we use them, can damage our lives.

This is a film about three stories: A son attempting suicide because of a picture of him nude was posted on the internet. Another about young kids who’ve runaway from home and make a living selling themselves for private sex over the internet. And, finally a couple whose personal tragedy grew to include identification theft, but this difficulty helped them grow closer together.

Each of these stories was based in today’s reality. The point of these stories was how technology creates new ways for us to communicate and do it poorly.

Rich and Lydia Boyd (Jason Bateman and Hope Davis respectively) have a daughter Abby (Haley Ramm) who is popular at school while her brother Ben (Jonah Bobo) is a loner who loves music and keeps to himself both at school and at home. Two boys, using technology, decide to harass Ben. They make up a girl that likes him and encourage him to do something stupid. A television interviewer wants to expose young kids selling sex over the internet. By getting more involved creates complications for both the person she’s trying to help and herself.

Derek and Cindy Hull (Alexander Skarsgard and Paula Patton respectively) have just lost a young son and turn to internet activities to soothe their pain, her a chat room, him online gambling. Their identity gets stolen and now they are losing everything except themselves. T

wo of the three stories are interwoven with Mike Dixon (Frank Grillo) who is a former cop who has turned to internet sleuthing and remedy.

Bateman is great as a father who loves his son but has gotten so involved with work; he lost his family connection and tries to get it back. Davis is strong as the mom who is trying to get her husband to pay attention to the family. Ramm is good as Ben’s sister, a brother she loves but is also embarrassed by his awkwardness. Bobo is fantastic as the boy who is so scared of showing up and lives within the world of his music. Skarsgard is really good as the father who has lost a child and doesn’t know how to reach out to his hurting wife. Patton is fantastic as the hurting mother who is looking for a way to find emotional relief. Grillo is very good as the single parent trying to do right by his son. Colin Ford as Grillo’s son did a superb job of showing his angst, sorrow and fear for his actions. Andrea Riseborough was really good as the reporter knowing she wanted to help but also wanting a story. Max Thieriot was fabulous as the young kid just finding his own way. Andrew Stern wrote an outstanding script. Henry Alex Rubin directed this three story film with precision and wonder.

Overall:  This was a really good film and deserves to be seen by a lot of people who don’t get how technology has changed our lives.