Hacksaw Ridge

First Hit:  A very powerful and graphic film about a conscientious objector’s selflessness to save lives in a horrible battle.

This film is not easy to watch as many of the graphically violent scenes may make you cringe, close your eyes, or turn away from the screen as I did. Although the number of war torn bodies in this film was far greater than what I saw in Vietnam, the point wasn’t lost on me: “war is hell” as William T. Sherman in 1870 said and Director Mel Gibson wanted us to see. As he did in “Passion of the Christ” and “Apocalypto”, Gibson shows us man’s inhumanity to man.

Here he shows us Desmond Doss (Darcy Bryce and Andrew Garfield), whose belief in God, as a Seventh Day Adventist, won’t allow him to take another man’s life. We also see the lessons he learns from a difficult childhood. His father, Tom (Hugo Weaving), is an alcoholic which began with his own suffering from the loss of his childhood friends in WW I. The beatings his mother Bertha (Rachel Griffiths), brother Hal (Roman Guerriero and Nathaniel Buzolic) and he take, affected him deeply and as an audience member, were difficult to witness.

Because he has a sense of duty, despite the objections of his mother and father, he signs up to join the WWII effort as a medic Conscientious Objector in the US Army. Prior to his induction he meets Dorothy Schutte (Teresa Palmer) whom he charms with his wholesome, caring and kind nature. She sees the depth of his integrity and they agree to marry on his first leave.

When his platoon Sergeant Howell (Vince Vaughn) announces to the rest of his platoon that Desmond won’t be carrying a gun to protect his peers, they make him a pariah. He's beaten and disowned by his fellow soldiers and they even try to Court Martial him out of the Army.

Gibson painstakingly develops the backstory so that when Desmond enters the battle for Hacksaw Ridge the audience is ready for him to become the hero he became. As the first of only three Conscientious Objectors to receive the Medal of Honor, Desmond amazes his fellow soldiers. Alone he saves 75 wounded men by saying to himself and to his God, “give me the strength to save just one more”.

The battle itself is one of the most graphic you’ll ever witness and it is important to know this going in. For me it triggered huge sadness because of the memory of piling up dead Viet Cong soldiers after an all-night firefight.

Although this film is long at 2 hours and 11 minutes, the elongated battle scenes are extremely well orchestrated giving the audience a sequence of stories all tying together.

Garfield was spectacular and amazing in this performance. His embodiment of Doss was deeply heartfelt. I would predict that he may receive an Oscar nomination, along with a real chance to win. I’d definitely give him a vote. Weaving was powerful as the father who was gutted by his involvement in WWI along with how this, and his alcoholism, affected his life. The last scene where he reaches out to help his son was deeply heartfelt. Vaughn was in the best non-comedic role I’ve ever seen him in. In my view, this role brought a new dimension to his acting abilities. Bryce and Guerrieo were wonderful as the young Doss brothers. Palmer was fantastic as Desmond’s one true love. Griffiths was very good as Desmond’s suffering and faithful mother. Andrew Knight and Robert Schenkkan wrote a fantastic screenplay. This screenplay is Oscar worthy and the dialogue is amazing in its range. It contained humor, military order and strictness, romanticism, and spiritual beliefs all wrapped into one film effectively. Gibson, regardless of how you may think of him as a celebrity and person, his direction of this film is truly amazing. Like Spielberg, he knows how to craft scenes of war in a way that can make an audience feel the experience. He deserves to be given consideration for an Oscar as well. If you see this film, make sure you watch the short clips during the credits of the real Desmond and others who knew him.

Overall: Although this film can be hard to watch at times, it clearly makes a strong point about the power of one man living his truth.

Bridget Jones's Baby

First Hit:  Occasionally funny but generally slow and simply didn’t work.

The very first film of this series, Bridget Jones’s Diary, was fun and it worked in many ways. Being introduced to Bridget Jones (Renee Zellweger), a woman who struggles with her weight, is lonely and falls in love with two men. The second was somewhat more of the same; but by this film, the main thing we’ve dropped from the plot is the weight although there are references to weight in the film.

Another constant in the previous films are her two love interests Mark (Colin Firth) and Daniel (Hugh Grant). However, because Grant dropped out of project, he's referenced in a plot device funeral. Here Bridget is successful at her job as producer of a television program. She is celebrating her 43rd birthday and ends of doing it alone in her apartment. She goes to Daniel's funeral and runs into Mark.

A few days later, her coworker Jude (Shirley Henderson) decides to take Bridget to a rock-in-roll festival where she happens to fall into bed with Jack (Patrick Dempsey) and they have a sexual evening. Running into Mark again at a Christening, she has sex with him as well. Having sex with two different men in a short period of time (within a couple weeks of each other), she becomes pregnant and doesn’t know who the father is. That is the plot of this film.

Jones is pregnant, she’s going to keep the baby, she doesn’t know who the father is, and she may lose her job at work. Generally, this plot has a bit of interest but the execution is mediocre. At the end of the film a newspaper article comes up stating that Daniel is still alive, God I hope this doesn't mean there is another film planned.

Zellweger seemed out of place and unengaged in the part. Dempsey seemed to put the most energy into his part although there didn’t seem to be chemistry between him and Zellweger. Firth did well by keeping his stogy, disengaged self in tack. Henderson was delightful and carried her scenes well. Jim Broadbent as Bridget’s dad was his wonderful self and Gemma Jones as Bridget’s mum was good. Emma Thompson co-wrote and also played Bridget’s physician in a wry manner. The other co-writers were Dan Mazer and Helen Fielding. Overall the script was not very strong because it was more rehashed material, although the overall story idea could have been interesting. However, this film is too long and falls apart because of less than engaged acting and lapses of interesting direction by Sharon Maguire. For instance, the scenes of Mark and Jack carrying Jones to the hospital weren’t funny and could have been cut.

Overall:  Despite some funny moments, this film didn’t work and wasn’t worth the price of admission.

The Light Between Oceans

First Hit:  Strong acting by Alicia Vikander and Michael Fassbender had me feeling the intended pain and joy of their characters.

Doing the right thing to find inner peace in his life, Tom Sherbourne (Fassbender) has come to this small Australian town to serve as a solitary lighthouse keeper. The lighthouse is on Janus Rock, a remote island several miles from shore. He’s traumatized from his experience in WWI having seen and caused many deaths. He’s looking to repair his soul.

One of the men who helps to hire the lighthouse keeper has a daughter named Isabel Graysmark (Vikander). She is full of energy, life and is intrigued by the quiet somewhat brooding polite Sherbourne. On one of his trips onto shore, he has a picnic with her and their connection is sealed.

The chemistry on the screen is palpable and watching them together is curiously engaging. They marry and live in solitude on the island. They attempt to have children but Isabel miscarries and the pain of these scenes are a strong set up to what happens when they find a dingy washing up on the island with a small baby girl and a dead man inside. Tom wants to find the mother, but Isabel wants to keep the baby and bonds with it immediately.

Filling the hole inside her from her miscarriages drives her to convince Sherbourne to not take steps to find the birth mother. Some years later the birth mother is discovered and she lives in the same town.

Hannah Roenfeldt (Rachel Weisz) is mourning the loss of her husband and baby and Tom fights himself and Isabel to set the record straight.

There are some wonderfully staged scenes in this film including; when Isabel shaves off Tom’s moustache. The happiness of their first dance after the wedding. Tom’s speech about the Lighthouse where Hannah is present and he is lost at what to say and how to say it. The scene when Hannah and Isabel meet up in the fabric store and Lucy-Grace (Florence Clery) runs to Isabel’s arms. And finally when the adult Lucy-Grace (Caren Pistorius) visits Tom. This film was meant to pull on the audience’s heart strings and it does this really well.

Fassbender was amazing as the restrained and constrained man filled with a tough emotional past and learning how love could release him. His controlled words and actions, as provided for in the script, were powerfully shown and shared with the audience. Vikander shows why she won an Academy Award last year. She made Isabel frightfully real in so many ways, displaying the ability to move from one emotion to another in a way that was integrated. She was outstanding. Weisz was powerfully controlled in her role as the mother who lost her child, found her child and having to re-establish her role as mother when the child, rightfully, believed someone else was her mother. Wonderful performance. Derek Cianfrance wrote and directed this film. His ability to create the agonizingly beautiful and powerful scenes in this film, show his ability to get what he wanted.

Overall:  This film is heart touchingly aimed to bring a tear or two, and it does.

Southside with You

First Hit:  This was a very sweet story about how Barack Obama and Michelle Robinson’s first date might have gone.

Based on publicly available facts, Richard Tanne developed a wonderful script and directed this film creating a space for two amazing actors Tika Sumpter (Michelle) and Parker Sawyers (Barack) to reflect our current first family’s initial date.

I liked the feel of this very uplifting story and how it transferred to film. It showed the intelligence of both our President and First Lady. Their personal charm, goals, aspirations, and willingness to cautiously open up to each other about their upbringing and future ambitions were nicely presented.

The film follows the couple from when he first picks Michelle up in a car that has part of the floorboard missing; then they trek to a museum, take a walk in a park, go to a community meeting where Barack speaks, see a Spike Lee film, and have ice cream together.

Throughout these events, their dialogue is wonderfully scripted and brings out information that gives the audience a peek at the how and why they are together.

Sumpter is very strong at showing an intelligent strong Michelle while being cautious about starting a relationship with someone who works in her firm. Sawyers was very good as showing us the articulate well-spoken President we’ve come to know. Tanne did a wonderful job of creating a script and directing his two actors.

Overall:  I found this story and film to very sweet and enjoyable.

Café Society

First Hit:  I was disappointed in this film.

The first thing was I couldn’t get over how quickly Bobby (Jesse Eisenberg) spoke his lines with rejoinders coming almost as fast in return.

It just didn’t seem like anyone (Director or Actors) wanted the let the words breathe and have some sense of feeling with them. It is reflective of a poor Woody Allen film. Eisenberg is no Allen (and I like Eisenberg's work) and speaking Allen’s words the way he was directed didn’t work.

Nobody does Allen like Allen (good or bad). With this overriding problem with the film, it seemed hard to get into the story. On a good note, I thought that Kristen Stewart (as Vonnie) was very strong. She was the only main character that seemed to feel her way into her character.

Steve Carell as Phil Stern was OK, but at times it just seemed as though he was straightjacketed as the big time movie producer. I never felt his attraction to either his wife or Vonnie, it all seemed for show. I did like the feel of the 1930’s set with the nightclub being especially embracing.

Eisenberg, either got poor direction or wasn’t right for the role in that his machine gun approach to the lines lacked depth and feeling. Stewart was the best character in the film and she continues to show why she is so much more than the “Twilight” girl. Carell was mediocre as the studio executive, and my sense it was the direction that failed him. Blake Lively was good as Bobby’s wife and the scene of their meeting was one of the better scenes in the film. Corey Stoll as the criminal element of Bobby’s family was also good. Woody Allen, narrated, wrote and directed this film and in all ways it seemed to lack heart and comedy.

Overall:  One film that is easily forgotten.