WHERE'D YOU GO, BERNADETTE (2019)

Rated:  PG-13

STARS: Cate Blanchett, Billy Crudup, Emma Nelson, Kristen Wiig
DIRECTOR: Richard Linklater
GENRE: Comedy/Drama

It will require some patience and some faith to get through the early part of Where'd You Go, Bernadette. Patience and faith that director Richard Linklater is saving his best for last, because the first half of the film is talky and slow. Ironically, patience and faith are what are often required to deal with highly creative people, who can often come off as borderline mad.

Enter Bernadette Fox (Cate Blanchett),  a "highly decorated" architect who came to national prominence and praise for her innovative style. But marriage and becoming a mother have caused Bernadette to disconnect from the fire and passion she once poured into her work. She's dismissive and rude to her admirers and is embroiled in a nasty feud with her neighbor, Audrey (Kristen Wiig).

Because she basically doesn't like people (in these times, I think more and more of us can identify). And she appears to be hooked on prescription drugs. So how and why does she end up in Antarctica after an FBI agent comes calling, revealing that the Russians may be plotting against her? (They've got their fingers in everything these days!) That's where your patience and faith in sticking with Where'd You Go, Bernadette pays off, in learning whether she's a true whack job or maybe someone who just needs to get her mojo back!   

Billy Crudup plays Elgie, Bernadette's increasingly concerned and bewildered hubby, who is driven to lure his wife into an intervention, after coming to his wit's end with her increasingly erratic behavior. 

Newcomer Emma Nelson shows promise as Bernadette's loyal and fiercely protective teen daughter, Bee. That's refreshing, because normally it's mom and daughter who are at odds with one another. Here, mom is just at odds with the rest of the world.

The pristine beauty of Antarctica goes on full display in the second half of the film. But I felt that there should have been more penguins, and that they should have been dancing around--or something. (Watching too many animated features will spoil you that way.)

The ending feels a bit tidy and formulaic, but it's worth the price of admission to watch a true master at her craft play another master at her craft, and give it all the frenetic nuance that portraying an eccentric creative genius requires. 

Grade:  B 

JILL'S TAKE

Before I say one word—pro or con—about Where'd You Go, Bernadette?, I want to heap icicles of praise on the visually fascinating end credits. Do NOT exit the theater before they're done!

It's never easy portraying ultra neurotic artists on screen, showing their idiosyncrasies in manic bloom and yet having them come off as sympathetic. (I rest my case with a film like Pollack.) In this instance, however, screenwriters Holly Gent, Vince Palmo and director Richard Linklater manage to pull it off. With a ton of help from Cate Blanchett. This woman can play any part. From a crazy sister in Blue Jasmine(for which she won a 2013 Oscar), to a wealthy but repressed lesbian in Carol (for which she was nominated for a 2015 Oscar), to Katharine Hepburn in The Aviator (for which she won a 2004 Best Supporting Actress award). A truly amazing talent!

Unlike Tim, I felt the story moved along at a comfortable pace from the get-go. There were enough tense moments—at school, at the dinner table, with the next door neighbor—to keep my attention from wandering. Okay, so maybe the meeting between Blanchett's character and fellow architect Lawrence Fishburne went on a bit too long... But I felt it was needed. (Nothing like rampant denial to make us believe this woman  belonged in a looney bin.)

I found Where'd You Go, Bernadette? Really original. Even though the book by Maria Semple is billed as a novel, I kind of wished it was based on a real person. Go see this one, as I'm quite sure Ms. Blanchett will be up for yet another Academy Award in 2020.

Grade: B+

KNIGHT OF CUPS (2016)

Rated: R

STARS: Christian Bale, Brian Dehnehy, Cate Blanchett, Natalie Portman, Freida Pinto, Teresa Palmer, Isabel Lucas
DIRECTOR: Terrence Malick
GENRE: Drama/Romance


To frame it in language that my uncle Lemuel back in Nebraska would find user friendly: Terence Malick makes weird movies that some consider to be absolutely brilliant, while others just shake their heads and say:  Shit...I'll never get  those two hours back!

Case in point: Tree Of Life.  It was lauded as a masterpiece by many and was nominated for three Academy Awards. I found it to be disjointed and tedious. However, if I were to view it a second time, I might get a better grasp on what Mr. Malick was trying to convey. The same can probably be said for his latest offering, Knight Of Cups.

The "plot" is as follows. Rick (Christian Bale) is a Hollywood writer who drifts in and out of reverie with six pivotal women in his life--played by Imogeen Poots, Cate Blanchett, Freida Pinto, Natalie Portman, Teresa Palmer, Isabel Lucas, and Brian Dennehy. WHOOPS...Dennehy plays his father...heh heh...with whom Rick has flashback encounters designed to give us an inkling of past tragedies.

The characters in Knight Of Cups speak solely through their own interior monologue--in other words, they are talking to themselves. The action moves from one dreamlike sequence to another, through the kaleidoscopic cityscapes and the "beautiful people" of L.A. and Las Vegas--to the beach, to the bedroom, to the boredom (my own).Through all of this cinematically pretty navel-gazing, Christian Bale, as Rick, is trying to figure out who he is...or what his life is all about...or maybe what he is doing in this film in the first place.

It's a lot of weirdness, Uncle Lemuel (which I'm not averse to), but after awhile it gets to be too much of the SAME KIND of weirdness--like watching Freddy Krueger come back to life every damn time they kill him, or listening to Marco Rubio up on the debate stage!

Maybe Malick is making a statement about the dreamlike nature of life. That I can grasp. You sit in your living room gazing at a chair where somebody sat weeks, or months, or years ago and you wonder...were they ever really there?

I didn't love Knight Of Cups. I didn't exactly hate it (it's smattered with " T " and "A"). But it's true. I'll never get those two hours back.

Grade: C


JILL'S TAKE

I suppose after seeing Remember, a movie I felt was one of the best I'd ever seen, it's only fitting that the next one should be – bar none -- worst movie I've ever seen! I have very little patience with stories that have no discernible story. Obviously the producers of this turkey knew what they were dealing with and decided (after seeing the final cut and tearing their hair out) to make the trailer look as if it was a triangle love story between Bale, Blanchett and Portman. That's what I thought I was going to see!

Instead I was subjected to long silences, Tarot card headings, self-indulgent soliloquies and a film that seemed to go on forever. The only people I think might get something out of this meandering mishmosh are the 420 crowd. Warning: Take a BIG toke before entering the theater...

Grade: D ----

CAROL (2015)

Rated: R

STARS: Cate Blanchett, Rooney Mara, Kyle Chandler, Sarah Paulson
DIRECTOR: Todd Haynes
GENRE: Drama/Romance

How can I know what I want when I always say yes to everything is the line that nails the character of Therese (Rooney Mara), looking for all the world like a young Audrey Hepburn and exuding a similar Holly Golightly air of innocence and naivete. She is the perfect prey in waiting for Carol (Cate Blanchett), something of an older lesbian cougar who locks gazes with Therese at the New York City department store where the younger woman is employed behind the counter.

Carol is set in the early fifties, and the title character is a married woman, as many gay folk were during that era, due to the ubber stigma that homosexuality carried with it at the time. They played the game and tried to fit into "normal" societal roles... peering cautiously at the world from behind stacks of hatboxes inside the closet.

To further complicate matters, Carol is in the middle of obtaining a divorce from her from her hapless hubby, Harge (Kyle Chandler). He knows what she's up to, as she's had a previous lez affair with one of her longtime friends, Abby (Sarah Paulson). But he still loves his wife, and doesn't want to lose her. They have a young daughter, Rindy, and Harge is threatening to out Carol and have her declared an unfit mother--in which case she will surely lose custody of the child. So as Carol pursues her passionate desire for Therese, she must consider the consequences of her actions.

There is the obligatory lovemaking scene between Cate Blanchett and Rooney Mara, with an ample amount of skin on display. (In case you're curious about these two in real life-- Blanchett, who is married, has stated she has had previous relationships with women. Mara, who starred as the gender-bending Lisbeth Salander in The Girl With The Dragon Tattoo, is also rumored to be bisexual).

These are two heavyweight performances from the co-stars--Blanchett as the somewhat jaded, chain smoking Carol; Mara as the young ingenue discovering herself as a sexual being breaking through boundaries, pulled in different directions by members of both genders who want her.

Carol--adapted from the Patricia Highsmith novel, The Price Of Salt--is a tale of how two people find love and try to keep it alive in an us-against-the world scenario. It deftly captures the mood and the feel of a repressive era in our history when we weren't allowed to love just anyone of our own choosing.

Grade:  B +

JILL'S TAKE

Before commenting on Carol, I have to confess that I wasn't really in the mood for a movie, having seen two previous flicks in the past three days (The Big Short and Joy). My lids kept getting heavy and I was concentrating more on not nodding off than whether these two love-starved ladies would get it on or not. Like me, Carol was a bit lethargic.

In discussing it afterwards with Tim, I was still able to voice my dislikes (slow-paced direction, lugubrious content) and likes (Cate Blanchett's acting and Carter Burwell's score). Edward Lachman's cinematography also stood out for me as it lavishly set the stage for this clandestine love affair. I was reminded of John A. Alonzo's cinematography in Chinatown which had the same haunting feel to it. I guess my main gripe was how quickly these two ladies' sexual attraction turned into genuine love. (I'm sure it took longer in Highsmith's novel!)

I was also amazed that a mid-week, mid-afternoon showing of the film packed the movie house with viewers. I guess the promise of seeing two well-known movie stars getting naked in bed is a major draw.

Grade: C

THE MONUMENTS MEN (2014)

Rated: PG-13

STARS:  George Clooney, Matt Damon, Bill Murray, John Goodman, Cate Blanchett, Jean Dujardin, Bob Balaban, Hugh Bonneville 
DIRECTOR: George Clooney
GENRE: Action/Drama/Suspense

The Monuments Men--more than any other film in recent memory--demonstrates how a highly manipulative music score can turn what otherwise might have been a rather pedantic lesson about the value of art in our lives into a jaunty, and at times even a rousing "caissons-go-rolling-along" bit of mildly entertaining diversion. That's all thanks to the inventive soundtrack from Alexandre Desplat (Zero Dark Thirty, Rust and Bone, Argo) which hits all the right notes. And I say "highly manipulative," but every film score plays upon our emotions to some degree. That's what it's there for.

 Near the end of World War II, FDR assembled a team of experts--historians, architects, sculptors, art dealers and the like--and turned them into soldiers. Of sorts. And off they went to recover art treasures ripped-off by the Nazis and return them to their rightful owners before Hitler can get it all up on the walls of his Fuhrer Museum or destroy whatever he doesn't like. (You can see why he would have an interest...Hitler was an artist of some minor talent himself, and you can envision the museum's walls...a Rembrandt next to a Hitler next to a Cezanne next to a Hitler and so on...flattering himself by the company he keeps). 

The Monuments Men is an action/drama flick with more human drama than action, because the plot is one that appeals more to the art house patron (pardon the pun) than your typical moviegoer--whose appreciation of art runs more to velvet Elvis paintings than anything you would find in the Louvre. So our band of merry men on the road gets detoured into lots of familiar movie territory before they can declare "mission accomplished."  (Don't say it--ha ha.) There is a flirtation between Matt Damon's character and Claire Simone, (Cate Blanchett) a curator in occupied Paris.  The outcome is predictable because our men are totally intent upon their objective. Another time filler is when Damon finds himself standing on a land mine and doesn't dare move, while his comrades scratch their heads and try to extricate him from his predicament in one piece.

In the stellar ensemble cast, the comedic talents of Bill Murray and John Goodman aren't totally wasted, as they do have one rather amusing little scene together. And while The Monuments Men tries way too hard to be poignant in spots, at other times it succeeds. 

But the real star of the movie is Andre Desplat. 

Grade:  B

JILL'S TAKE

It's just lucky for you, Tim, that I'm not an SS officer. Otherwise, you'd be toast. Why? For daring to disagree with me so totally about a movie! For me, the musical score's manipulation was the ruination of this long, really long film. It detracted from what was happening on screen, forcing the viewer to feel what the director wanted—no insisted—that the audience feel. Achtung! Sieg heil!

We've seen zillions of band-of-brothers movies like this one. Where a group of guys, usually very different from one another, have a common goal: winning a war, surviving a plane crash, etc. Or, in this case, saving some great works of art. That's all well and good but, in my view, what makes these movies succeed or fail is simple: character development. I'm sure, when casting THE MONUMENTS MEN, the producers were licking their fiscally fat lips, thinking how much money this international cast would add to their coffers. Two actors that Tim didn't mention: Jean Dujardin from The Artist and Hugh Bonneville from Downton Abbey. But their individual stories were practically nonexistent and audiences care more about people than paintings. Suffice it to say, I was not as enchanted as Tim by this musically heavy-handed piece of cinema. I do, however, have to give four stars to Cate Blanchett for a muted but magnificent performance. Other than that? I'm thinking of taking my 5cm leichte Granatwerfer 36 out of mothballs so I can gun you down, Timoteo!

Grade: C - 

THE CURIOUS CASE OF BENJAMIN BUTTON

Brad Pitt is Benjamin Button, a man who is born as an ugly 80 year old infant and then proceeds to grow younger and much better looking because, after all, it IS Brad Pitt. Trust me, seeing Brad Pitt's head on the body of a midget as Benjamin's metamorphosis unfolds is nearly worth the price of admission.

About two-thirds of the way through, it ocurred to me that this film was hauntingly reminiscent of Forrest Gump. Both Forrest and Benjamin travel around and have lots of unusual experiences; each has a love interest that involves an on again-off again relationship, and both films contain lots of homespun philosophy. I later learned that the screenplay for both films was written by the same guy, (Eric Roth) and high-fived myself for picking up on it before the fact.

The real sweetness of this film revolves around Benjamin's love interest (Cate Blanchett) who sarts the movie as a little girl, aging normally while Benjamin does his bass-ackwards thing, and it becomes evident that at some pivotal moment in time they are going to meet again and become lovers--which just goes to show that, as they say in comedy, timing is everything.

Perhaps what's MOST curious about Benjamin Button is that several people are aware of his reverse aging, but aren't taking great pains to hide it from anyone, so don't you think that sooner or later the feds would get word of it--grab him, and lock him up so they could study him for the rest of his life? But then, there would go your movie. (And if the dog hadn't stopped to pee, he'd have caught the rabbit.) Philosophically speaking, if we all aged backwards, what a world it would be. YOUNG people with all the knowledge and wisdom of a lifetime...actually showing some respect for their elders!

I do believe that had it been a year when "Slumdog Mania" did not exist, The Curious Case of Benjamin Button, nominated for a slew of academy awards but only garnering a few relatively minor Oscars, would have scored many more.

Timing is everything.

GRADE: A