The Meddler

First Hit:  The film had funny bits and it was Susan Sarandon’s performance that held it together.

When the film opens, Marnie (Sarandon) has been a widow for over a year. Her husband left her with enough money that she doesn’t have to worry about any financial matters and she's not dealt with her husbands ashes yet. She's moved out to Los Angeles to be near her daughter Lori (Rose Byrne) who has just broken up with her boyfriend Jacob (Jason Ritter).

Lori is devastated by the breakup and therein-lies one of the downfalls of this film, we really don’t know why. And even in the short scenes those two have together, there are no clues.

Because we know nothing of their relationship, we  are expected to believe that the depressed malaise Lori carries around is valid. Unfortunately, I didn’t buy it. This could be the issue of the screenplay, director, or actor.

With her daughter being depressed, Marnie is ready, willing and able to meddle in her daughter's life. She calls Lori at least 15 times a day and leaves long meandering messages, tries to tell her daughter what to do with her life, and shows up at her house unannounced. She smothers her daughter and appears clueless that she is acting this way.

When Lori heads to New York for work, Marnie suggests going with her. Lori says no, so Marnie starts to meddle in Lori’s friends lives. The difference is that they like it, although some of the attraction is that she has money and seems willing to spend it on them, including a wedding for a lesbian couple.

She also transports her Apple Genius Bar helper Freddy/Fredo (Jerrod Carmichael) to his school classes. All the things she does are for other people, and it's clear she’s not facing her own deep sorrow. She happens to meet Zipper (J.K. Simmons) who is a retired police officer and his accepting kind nature helps her begin to see a next step, which means moving along with her life.

Sarandon is very strong and effective as the meddling Marnie. Sarandon gives Marnie a strength of character and disarming charm that works well in this film. Byrne is OK, however I never bought her devastation from breaking up with Jacob. It seemed more like she was acting as a character versus playing and embodying the situational circumstance of the character. Carmichael was very good as the Apple Genius Bar guy who wants to improve his life. Simmons seemed to channel his best Sam Elliot with the mustache, deep voice and calm demeanor. Not that it was bad, but it just seemed like Elliot could have been substituted with little difference. Lorene Scafaria wrote and directed this film and it would seem she has had some experience with a “meddler” in her own life.

Overall:  Despite some of the film's faults, it was entertaining and at times very funny.

Knight of Cups

First Hit:  An interesting, esoteric and ethereal film of a man reflecting on his place in the world through his relationships.

This film is not and will not be everyone’s cup of tea. In general it is about self-discovery, our purpose in this life, and understanding ourselves individually and collectively.

Those who value self-reflection and contemplating their own life as a way to see and better understand their current place and have patience for the film to unfold in its own way may like it.

One particular sequence early on with Ben Kingsley’s voice over states something like; it takes us so long to begin to see the depth of who we are because we spend most of our time responding to outside stimuli. During this sequence the images on the screen are of a young Rick (Christian Bale) on the beach with his family and in other settings.

The film is divided into 8 named sequences. Each, except the final section called Freedom, are named after Tarot cards, as is the name of the film. The "Knight of Cups" is the heart filled Knight in the Tarot deck. Although the Knight is on a horse (strength), because the horse is in a walking position, the Knight and the other representations on the card represent calmness and being ruled by the heart when important decisions are made.

Rick goes through the film in this etheric way, little outside emotion is seen, and each scene gives a view into his feelings. The people speaking to him fade in and out and one can begin to sense that Rick is Hollywood connected.

Each of these sections, which reflect the names of the cards are about the women he’s been with, his angry and lost brother Barry (Wes Bentley), his controlling, angry, and demanding father Joseph (Brian Dennehy) (their section is named “The Hangman”), and an immoral playboy Tonio (Antonio Banderas) (his section is named “The Hermit”).

My sense was that the latter was Rick’s own reflection of his playboy ways. The women are Della (Imogen Poots) whose section is “The Moon” and she is young and rebellious. The section called “Judgement” is played by his former wife, a physician, Nancy (Cate Blanchett). “The Tower” is played by Freida Pinto as a serene model named Helen. Teresa Palmer, as a spirited playful stripper named Karen is the section called “The High Priestess”. Elizabeth (Natalie Portman) is “Death”, the person Rick wronged. And finally, “Freedom”, an innocent Isabel (Isabel Lucas) who assists him in seeing ahead.

All of these stories are mixed and matched with life events, like robbery, heated arguments, disagreements, moments of bliss, and each of them lying on a backdrop of natural reflective scenes of Rick in the desert and on the beach at sunset.

Bale says little in the film, much of his thoughts and feelings are shared through visuals of him solitarily reflecting, with others but almost always on the edge of being disengaged, and the scenes outside himself, what he’s seeing. Because he had no physical script to work from, he was genuinely perfect for the role because of his ability to be silent yet communicative at the same time. Bentley is very strong as the angry, lost brother. Dennehy was perfect as the father. It was so nice to see him again. Poots was very good as Della. She clearly provided an edge to Rick’s life. Blanchett was very strong as his former physician wife. Her compassion to the people she worked on was amazing. Banderas was great as the playboy and during the A-List Hollywood party, he was like a kid in a candy store. Pinto was elegant in her role as a serene presence in Rick’s life. The model shoot was very realistic. Palmer was strong as the enticing playful stripper. Portman was extremely strong as a tortured married woman who both loved and felt wronged by Rick. Lucas was very good in representing a path forward. Terrence Malick wrote and directed this film. His strengths are getting creatively strong improvisational performances from his cast. The visual shots in the film are often arrestingly beautiful.

Overall:  As I said, this film isn’t everyone’s cup of tea, but it was mine.

Hello, My Name Is Doris

First Hit:  Sally Field (as Doris) steals this film and makes this story work very well.

Doris is in her mid-sixties, her mom has just passed away, she had lived with her mom most of her life, she’s a hoarder, and works in an advertising agency as a data input operator.

Into her work life walks in John Fremont (Max Greenfield), a new arrival from California. He’s in his mid-thirties, got dropped by his girlfriend, is kind, and in his new job/life he’s trying to fit in.

What doesn’t work about this film is that John is portrayed as too naïve about how Doris feels about him. However, what does work about this film is Field as Doris. She is so good that the audience is engaged and bought into the story.

Most of the film is about how Doris fantasizes about having a romantic relationship with a man half her age. However, it also speaks to aging, human kindness, hoarding, sacrificing for family, the modern workplace, older people, and finally, friends and family.

Although we are not introduced to Doris’ character gently, there is no compromise in her character and to be quite frank, it worked.

Field is beyond fabulous. She could be considered for a third Oscar next March. Greenfield was good but I couldn’t help but think about his lack of vision of Doris' intention. Tyne Daly as Roz, Doris’ best friend, was extremely strong. Her acceptance and friendship was perfectly played. Isabella Acres as Roz’s granddaughter Vivian was spectacular. Her befriending of Doris and helping her navigate Social Media was perfect. Laura Terruso and Michael Showalter wrote a very interesting and edgy script. Showalter did a great job of guiding and giving Field the freedom to deeply explore her character.

Overall:  This film was very entertaining and I loved Doris’ outfits.

Carol

First Hit:  One of the most lusciously beautiful well-acted films I’ve ever seen.

The detail in this film set in 1952 is beyond perfect. The storyline captures the mood and feel of the times while painting beauty, struggle, and joy with intentional and pointed elegance.

Unlike Point Break (the previously reviewed film) which didn’t have a real story to tell, this film was all story. That might have been enough but the director made every frame a piece of art. The wall-paper I recognized from my grandmother’s house. The painting of a ship at sea, I’d seen somewhere when I was a small boy. The attitudes of all the characters were perfectly aligned with the times. The delicious detail in each car all sitting on top of incredible dialogue.

The two main characters Carol Aird (Cate Blanchett) and Therese Belivet (Rooney Mara) were amazing in how they portrayed their roles. Carol, a wealthy beautiful woman who gets what she wants, is not romantically attracted to men and finds herself in the middle of a difficult divorce.

Although her husband loves her dearly, because of this lack, her husband sees this as a reflection of his manliness. Therese is somewhat naïve, enjoys being around men but not intimately, works in a large department store, and almost appears to be waiting for life to happen to her.

Very early in the film, these two meet while Carol is shopping for something for her daughter. The rest of the film is a beautiful patient unfolding of their discovery of each other and themselves. The end of the film is so strong and subtle that it was arrestingly remarkable.

Both of these women deserve to be nominated for best actress awards during awards season.

Blanchett is amazing as woman willing to do what she needs to fill the empty place in her heart. Her outfits, movements and the way she expressed herself were fearless and of wonder. Her portrayal as a caring mom while in difficulty of meeting society's standards was incredible.  One of her most powerful scenes, which displayed her love of her daughter and  her wanting a life of happiness transpired when she and her husband met at a lawyers office to discuss terms of their divorce. It showed her character in so many ways. Mara was sublime. Her look and expressions were so mesmerizing that I couldn’t take my eyes off her. To watch her unfold so slowly and beautifully was like a butterfly coming out of cocoon in real time. Watching her discover herself and what she wanted was almost voyeuristic in the most intimate beautiful way possible. It is rare we get to be this close with a character. Phyllis Nagy wrote a real women’s script that captured everything about the time, attitudes, and feelings. Todd Haynes directed these actors through this script with a touch of magic.

Overall:  An extraordinary film in all ways.

The Diary of a Teenage Girl

First Hit:  Great view of the 70’s and how one young girl grows through her budding sexuality.

The late 1960’ through the mid-late 1970’s were ripe with open sexuality and drug use. This film captures the mood and feeling of this era with some spot on dialogue, scenes and cinema-graphic feel.

The story is about a young girl, Minnie (Bel Powley), who wants to be touched, love and be loved. Her father Pascal (Christopher Meloni) is long out of the picture and his former wife Charlotte (Kristen Wiig) lives the life of partying with drugs and drink. Minnie’s younger sister Gretel (Abby Watt) and she lead their own lives although they are just teenagers.

Charlotte's boyfriend, joining her in this chosen lifestyle, is a vitamin pill producer named Monroe (Alexander Skarsgard). When Monroe makes slight advances towards Minnie, she responds with enthusiasm and their affair starts. Minnie likes her budding sexuality and her sex with Monroe becomes her life's focus. Monroe just cannot seem to help himself around Minnie.

She documents this new adventure and change in her life by drawing cartoons in her notebook and recording her thoughts on cassette tapes. When her mom finds out what has happened, the expected blowup transpired and then takes some odd turns. Minnie works through her pain in her own way. What struck me about the film was the way it was shot.

The director and cinematographer, really captured the way films looked back in the 1970’s. The strengths of the performances effectively carried the theme and attitudes of the era.

Powley was fantastic as the girl looking for love and affection. She created a strong feeling of young angst while also displaying the ability to grow into a new level of maturity. Wiig was strong as a mother of the 70’s. She was able to exemplify the sense of the era. I know because I was a young father in the 70’s as well. Skarsgard was very good as the guy who couldn’t help himself around the young sexually charged Minnie. Watt was perfect as the annoying, yet loving, sister. Meloni was effective as the guilt-ridden intellectual absent father. Marielle Heller wrote a strong script displaying a great feel for the era as well as Minnie’s view of the world. In her direction, Heller did a great job of creating a perfect sense and feel of the times.

Overall:  Although a difficult film to watch, the strong story makes up for it.