This piece was first published on KENS5.com, and can be viewed here.
What to make of 2019 as a year in movies? How about what not to make of it?
It was an unexpected as Baby Yoda’s world domination, and as exhaustively satisfying as watching Rick Dalton let it rip on the set of “Lancer.” It provided an all-timer crop of sophomore features from the likes of Greta Gerwig, Robert Eggers and Ari Aster while also yielding one last group of mesmerizing, decade-ending debuts that includes Olivia Wilde, Joe Talbot and Lulu Wang. The bread and wine of “The Irishman” looked tasty, the ramdon of “Parasite” even more so, and the trophy for Movie Most Likely To Scare You Out of a Summer Trip to Europe is finally in the hands of something other than “Taken.” First-time director Lulu Wang let us in on a family secret, and institutional director Martin Scorsese let us into reflections of a career.
Tom Hooper’s “Cats” broke Twitter, and then broke its awards chances by not breaking the box office. Sagas ended (for now) with “Avengers: Endgame,” sagas ended definitively (or so they say) with “The Rise of Skywalker” and sagas received an epilogue with “Toy Story 4.” Adam Driver was in everything. Florence Pugh: hello. Joe Pesci, Wesley Snipes, Jennifer Lopez: hello again. We couldn’t decide whether “The Lion King” was animated or live-action (it’s animated). We couldn’t decide whether “Under The Silver Lake” is problematic or in on the joke (it’s the latter). Robert Pattinson lost his mind in space, then in a lighthouse, then on a European battlefield—spanning about five centuries in the process.
Netflix quadrupled down on its bid to be taken seriously as a new kind of movie studio, while A24 and Neon continued churning out indie darlings with budgets the size of Thanos’s pinkie. The knives came out, the gems remained uncut and the popes came in sets of two. What to make of 2019 as a year in cinema? It may very well have been the decade’s best. Continue reading →
This review was first published on KENS5.com, and can be viewed here.
“Marriage Story,” Netflix’s newest offering that finds the life-traipsing of writer-director Noah Baumbach at his most soulfully devastating, begins with a pair of monologues from the couple at its center played over scenes from a marriage. You may remember snippets from the trailers – she loves that he’s brilliant, he loves that she’s brave – but some details are missing. Who are these things being said to? Who are they being said for?
The questions are answered early. And, well…it’s complicated. But if you think those mirroring floods of compliments are Charlie and Nicole at their most honest, prepare to be emotionally walloped by “Marriage Story”—one of the very, very best movies of the year.
It isn’t a spoiler to say “Marriage Story” ends with divorce, but this is largely, and marvelously, unlike most divorce movies you’ve seen. It’s certainly not like Baumbach’s own “The Squid and the Whale,” a thornbush of a film in which every other caustic remark rocketed between members of the Berkman family is intended to do maximum damage. In the story of Adam Driver’s Charlie and Scarlett Johansson’s Nicole, whose mutual vow to keep an initial, seemingly amicable separation free from the tentacles of lawyers is doomed from the start, Baumbach trades in causticity for the infantile inexperience of two people navigating new waters of love and life as they become uneasy participants in contemporary structures meant to pit them against each other. It’s a key choice by Baumbach that Charlie and Nicole aren’t out to make enemies of themselves, and it’s not just for the sake of their son. The auteur is exploring something more heart-wrenching and universal: If we give ourselves completely over to another, what could possibly be left of us when they’re no longer by our side? Continue reading →