2023 has been a year for the books. It was a year full of turbulent worldwide issues, ranging from ongoing wars in Israel and Ukraine, to a Writer’s Strike in Hollywood, and several more unexpected passings of famous stars and figures in film and television. As for cinema and movie theaters themselves, there were several instances of surprise successes, disappointing attendance, and fandom towards new faces that had moments to shine.
Let’s start with the phenomenon that had audiences coming to theaters in droves: the “Barbenheimer” effect, if you will. Opening simultaneously on July 21st, Greta Gerwig's take on Mattel's ever-popular doll-line
Barbie and Christopher Nolan's massive biographical thriller
Oppenheimer (about the creator of the Atomic Bomb) couldn't be more different from each other. And yet, they have so much in common. For instance, both were large-scale productions with impressive practical elements. Both were stacked with a who's-who of A-list talent. And both were helmed by exceptionally-terrific directors who treated their respective projects as films first and commerce second. (Neither film made my list this year, due to
Barbie's satirical-but-complicated take on gender roles, and
Oppenheimer's inclusion of some unnecessarily-explicit sex scenes.) I also want to give props to actor-turned-director Bradley Cooper, for his masterful work in front of the camera (as American composer Leonard Bernstein) and behind it with the powerfully heavy music drama
Maestro.
Along with
Barbie, another blockbuster that truly respected its brand and legacy was
The Super Mario Bros. Movie, a collaboration between the video game franchise's parent company Nintendo and powerhouse CGI company Illumination. (Personally, watching Mario made me feel like a little kid again, being a child of the 1980s gaming world. I did also enjoy Illumination's
Migration at the end of the year.)
On the flip side, superhero movies saw a steady decline this year. Marvel's current phase of features, from
Ant-Man and the Wasp: Quantumania to
The Marvels, received low ratings from fans and critics. (
Guardians of the Galaxy Vol. 3 was exceptional, and DC's
Blue Beetle was cool if familiar.) Speaking of DC, the highly-anticipated and long-awaited
The Flash fell short of expectations. Part of this may have had to do with star Ezra Miller's recent public controversies, despite reportedly owning up to said mistakes and making better strides. On the other hand, the best part about this flick was seeing Michael Keaton back as Batman--which had this writer (who grew up with the 1989 Tim Burton film) grinning with glee. (Read my full review
here.) The same could be said for Harrison Ford's fifth and final outing as everyone's favorite archeologist in
Indiana Jones and the Dial of Destiny; ditto longtime composer John Williams' final film score. Despite being an improvement over the previously-uncharacteristic
Kingdom of the Crystal Skull, it's easy to see where
Dial of Destiny (directed by James Mangold, but co-produced by Steven Spielberg and George Lucas) fell short, particularly in its overreliance on CGI and action/violence that was louder than it needed to be.
As for the Walt Disney Company (which
celebrated 100 years this year), movies like the animated
Wish apparently didn’t connect with a whole lot of people; although, the film did have an incredible animation style and a captivating heroine (voiced by the phenomenal Ariana DeBose), but was distracted by several homages to the studio’s library, rather than telling a more original story. Then there was the live-action remake of
The Little Mermaid. Perhaps no film in recent memory has divided both critics and audiences so heavily. To be fair, not every animated Disney movie needs to get the live-action treatment. On the other hand, what most people (myself included) do agree with is Halle Bailey’s beautiful and soulful performance--not to mention a more self-aware and proactive variation--as Ariel. (Read my full review
here.) The Mouse House did have at least one theatrical comeback for the year. Although it had the worst opening weekend for a Pixar movie, the inventive and original CGI romance-comedy
Elemental steadily built strong word-of-mouth and made back its budget and then some.
But the films that stuck with me this year dealt with characters honoring or facing the past—or the pain/ghost(s) of it—to move forward. In some cases, there were stories about reexamining the past, or the untold stories of our nation’s history. In other cases, there were stories that have never been told in such a way before. Overall, these were films that had sincere narratives and character arcs, as opposed to pushing specific agendas--mostly. In a way, this mirrors
my list from 2022, but takes it one step or more further, and with a little more maturity.
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First things first. Here is a list of films that didn’t make my top ten, but are worth mentioning or looking into. (I've included my initial reviews posted on my Instagram page @be.kerian.)
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| (Courtesy Amazon Studios) |
NBA legend Michael Jordan is still as relevant as ever, thanks to a new biopic about the Nike company and the creation of the "Air Jordan" footwear in the early-1980s. Ben Affleck steps behind the camera once again while acting in front of it (as Nike CEO Phil Knight). But this electrifying true story centers on college basketball scout and salesman Sonny Vaccaro (Matt Damon) who takes a chance on a then-teenage Jordan while he was still a rookie ballplayer, and forever changing the game, business, and marketing behind the game.
Air gets its R-rating from strong language choices (some foul shots that could've easily been sidelined on the court), as well as some unethical turns along the way. As for Affleck and Damon, they've really come a long way since their Good Will Hunting days. (They also serve as co-producers through their newly-formed company, Artists Equity, while Alex Convery is credited as the film's sole screenwriter.) And their skill, charisma, and commitment is still intact and on full display here; ditto an impeccable cast, including Viola Davis, whom the real Jordan personally recommended should play his mother. Expertly directed, written, and acted, Air is a dynamic and nostalgic slice of sports and pop culture history. [April 12, 2023]
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| (Courtesy A24) |
Prior to a screening of All Dirt Roads Taste of Salt, Twin Cities Film Fest founder and executive director Jatin Setia described Raven Jackson’s directorial debut as “a non-linear poem that is cinematically flawless.” While only time will tell if that statement holds up, for the moment I can’t argue with the writer-director’s remarkable vision. Very few films that I’ve seen have each provided a unique but similarly-universal experience, certainly as far as visual poetry and freedom of expression. Films like Terrence Malick’s The Tree of Life, Michael Dudok De Wit’s The Red Turtle, and David Lowery’s A Ghost Story. And now, All Dirt Roads joins that distinct list, with a subjective perspective on life, death, rebirth, and family, told through the eyes of a young black women in Mississippi who transitions from childhood to motherhood.
The non-linear structure forces (and challenges) viewers to ponder not only the way each shot is particularly framed the way it is. (Director of photography Jomo Fray shot on Kodak 35mm film, thoroughly captivating.) Even more, there is an idea or theme in each shot that demands multiple viewings as well as different interpretations. Water, soil, and especially hands, serve as key visual motifs, representing everything from admiration to affection, empathy, and sadness. One scene finds a young couple (who apparently haven’t seen each other in years) slowly embracing and shedding tears, without a single word. Again, watch the hands. The final result is slow-going and, again, will produce multiple interpretations as any great poem would do. But at just over 90 minutes in length, it’s an incredible experience. Co-produced by Barry Jenkins, this A24 release is profound, beautiful, and a testament to what true cinema is and should be. [October 22, 2023]
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| (Courtesy Lionsgate) |
Judy Blume's bestselling YA novel from 1970 has since been widely regarded as both a beloved and controversial piece of American literature. Brimming with nostalgia from the [decade], this coming-of-age dramedy follows the titular Margaret Simon who moves with her mother and father from New York City to New Jersey as she begins sixth grade. Despite her parents being presently-non-religious (her dad is Jewish, and her mother comes from a Christian family), Margaret starts talking to God about everything from boys to family, religion, and periods, and is left to decide which path she wants to chose. The film adaptation (written for the screen and directed by Edge of Seventeen helmer Kelly Fremon Craig) is a joyous experience, with Abby Ryder Forsten (a.k.a. Cassie Lang from the Ant-Man movies) giving a winning breakout performance as Margaret, with wonderful support from Rachel McAdams and Benny Safdie as her parents, and Kathy Bates as her paternal grandmother.
The film is also a provocative one, particularly when it comes to hot-button (female) discussions about bra size and menstruation. (One scene finds Margaret and her "secret club" members browsing and pondering a Playboy magazine, complete with a signature group chant.) And while the story's secular view on different religions and customs will make it difficult for more discerning viewers and families to navigate (the film is appropriately rated PG-13), it does come with genuine pre-teenage and familial angst, heartache, and love. From a biblical standpoint, the narrative may suggest a sense of general revelation--that is, the idea of finding God in the most unexpected places, including the most complicated phases of any person's life. As for the aforementioned discussions on female puberty, that's up for parents with daughters to decide when the time is right. [April 30, 2023]
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| (Courtesy 20th Century Studios) |
The basic premise of the battle between mankind and technology is all too familiar, and can easily be overused or predictable. Similar thoughts went through my head before a screening of Gareth Edwards’ years-in-the-making, original sci-fi pet project, The Creator. (This is only his fourth directorial feature film, following 2010’s Monsters, 2014’s Godzilla, and 2016’s Rogue One.) What the writer-director did with that premise from the opening sequence literally had my jaw on the floor. This is one of the most compelling and challenging films released this year, with very timely themes related to artificial intelligence and humanity’s overt reliance—and, dare I say, idolizing—on it. Granted, the story and imagery may recall themes or visual elements from other genre pieces such as A.I. and Blade Runner. But this is a world that feels and sounds different, and where anything can happen. It challenges the roles of humanity and tech with a very secular worldview, to be sure. But it does present a lot of ideas worthy of discussion within its epic, gripping, and subversive narrative.
The film balances visual and practical effects seamlessly, thanks to Industrial Light & Magic’s attention to detail. Ditto Edwards’ guerrilla-style filmmaking, real locations, costumes, hardware, the designs of the androids, and Hans Zimmer’s rousing score. Although The Creator does fall short in its editing department (a few moments feel rushed, leaving some potential plot holes), it does benefit from well-rounded and committed performances, including John David Washington (as a traumatized soldier), Allison Janney (as a grizzled colonel), Ken Watanabe (as an android leader), Gemma Chan (as Washington’s wife), and newcomer Madeleine Yuna Voyles (as the child that may turn the tide of the aforementioned ongoing war). Just be careful what kind of programming or themes you draw from this ambitious and thought-provoking epic. [October 2, 2023]
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| (Courtesy Toho) |
Another ambitious and incredible animé feature from writer-director Makoto Shinkai, Suzume [a 2022 release that premiered in North America in 2023] follows the titular high school teenager who discovers doors around Japan that bring forth destruction. Along the way, she meets a mysterious young man, named Souta, on his own quest to find the same doors, as well as a mischievous cat that curses the heroic Souta by turning him into a toy chair. This latter element is one of many subversive choices throughout this surprising and gripping coming-of-age story, which opens with a bang and never lets go. (At least one later scene carries a genuine sense of vertigo.)
Apparently set during the COVID-19 pandemic, Suzume is also a cross country road trip adventure about friendship, geographical history, connection (Shinkai's films feature characters interacting on, or habitually using, social media), sacrifice, and reconciliation. The attention to detail and personality in the animation is superb, and the score by Radwimps and Kazuma Jinnouchi is an emotional roller-coaster--and fitting for such a genre-bending feature. A few references to old Studio Ghibli films are peppered throughout, including the same track from the opening credits of 1989's Kiki's Delivery Service. Plus, the imagery of a little girl in a mysterious field, as well as forgotten communities in ruins (a reflection of real-life natural disasters that have occurred in Japan) and glimpses of a spiritual dimension, are poetic, powerful, and profound. [April 30, 2023]
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Here’s my list of the ten standout films of 2023. (Again, I’ve included my initial reviews posted on my Instagram page @be.kerian, unless noted otherwise.)
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| (Courtesy MGM) |
"I want you to take all your fear, all the guilt. Let go of whatever was, and walk into what is."
Coming up on fifty years, the Rocky film franchise continues to endure. And now, after two successful spinoff entries, the baton has officially been passed from Sylvester Stallone's "Italian Stallion" to Michael B. Jordan's determined Adonis Creed. And, in another parallel between both series, Jordan steps into the director's chair for the first time. To get right to the point, the first-time filmmaker pulls it off with flying colors. Although Creed III is the first installment to not feature Rocky himself (Stallone does remain a producer, alongside 2015 helmer Ryan Coogler), Adonis' story continues as he balances fame, family life, and the re-emergence of an old childhood friend.
I've noticed that many filmmakers and actors in recent years have been reverting back to the practical element of physical transformations, made most popular in the 1970s (a.k.a. Arnold Schwarzenegger's bodybuilding days) and the 1980s (when Stallone's Rambo, Arnold's Terminator, and Jean Claude Van Damme's roundhouse kicks reigned supreme in the action genre). Everyone from Henry Cavill--or anybody in Zack Snyder's DC universe, for that matter--to Jordan and now Jonathan Majors have significantly remolded themselves while never sacrificing character or story. [This review and film was released before Majors' publicized controversies later in the year.]
Likewise, Adonis's relationships with his music-producing significant other, Bianca (Tessa Thompson), and deaf daughter Amara (an engrossing Mila Davis-Kent), are heartfelt and tender. Nearly half of their scenes together are in ASL, an inspiring showcase for onscreen representation. That goes just as well for the film's boxing scenes, filmed with IMAX cameras (the first for a sports movie) and featuring characters in primal, sometimes grueling, beast mode. Said moments are jarring, while select soundtrack titles are occasionally rough. Creed III
does rush a bit during its third act, but it maintains a real character-driven battle between the past and the present. Other worthwhile themes include the challenges of parenting, dealing with handicaps or mental health, and being really open and honest with each other. This winning combination of sound and imagery, body and soul, is poetic and powerful. [Excerpts from
my full review, posted on my film blog on March 6, 2023]
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| (Courtesy Studio Ghibli) |
"About time you came."
When it premiered in Japanese movie theaters back in July (under the original title, How Do You Live?), [Studio] Ghibli did the unthinkable: they didn’t release any trailers or interviews or marketing in general [for The Boy and the Heron], other than one mysterious poster. Word-of-mouth has since ranged from mixed reactions to many immediately hailing Miyazaki’s latest as another masterpiece. Personally, I wanted to know as little about it going in. But, being the avid IMDb user that I am, I couldn’t resist certain spoiler-free articles or photos online. But only a little, I think.) Then, when the first trailer for the North American release premiered (along with the announcement that the film would be screened in IMAX, a first for Ghibli), my jaw dropped. It was different than what I was expecting, but I was still excited.
[Main character] Mahito’s name means, “sincere one.” Ironic, considering . . . it’s hard to tell what is real and what isn’t [in this story]. But it is thoroughly engrossing and stays with you. Some of the animation is expressionistic, particularly the harrowing opening sequence (which reminds me of Isao Takahata’s The Tale of the Princess Kaguya), while the heron itself possesses freaky human teeth. As for the aforementioned realm, is it “a kingdom free from malice,” or just a dream/fantasy that isn’t what it seems (like Alice falling down the rabbit hole)? Is it a choice between eternity and the world? Being stuck in the past versus looking ahead to the future? Either way, this is a story about new beginnings, the challenges of letting go of escapism and creation, and dealing with reality.
A few story elements recall previous Miyazaki/Ghibli entries (My Neighbor Totoro and Grave of the Fireflies, for example) and even Makato Shinkai’s 2013 entry, Children Who Chase Lost Voices. But for the most part, this is different than anything Miyazaki has ever done before. This time, his trademark of flight is expressed through birds, while images of paper creatures, melting bodies, and glowing doorways will leave you speechless. With a great and moving score by longtime collaborator Joe Hisaishi, The Boy and the Heron is a contemplative piece of cinema, if not one of Miyazaki's greatest. It’s certainly one of his most enigmatic, and an undeniable masterpiece. If not the reported swan song of his filmography (again), it could itself be a new beginning, from one generation to the next. [Excerpts from my full review, posted on my film blog on December 18, 2023]
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| (Courtesy Angel Studios) |
"This job tears you to pieces. This is my chance to put those pieces back together."
Every now and then, a film comes along that's so powerful, its subject matter hits you upside the head and breaks your heart. At the same time, it's an important story that needs to be told. That's exactly what the . . . film, Sound of Freedom, is. Based on a true story, actor Jim Caviezel plays real-life Homeland Security officer Tim Ballard, who specializes in finding and capturing pedophiles across the U.S., and soon goes on a dangerous mission to find and rescue a kidnapped little girl and bring her home.
The very subject of sex trafficking is hard enough as it is, especially when it involves children. And this film pulls no punches when it comes to shining a light on those dark and morally damaging corners. It's very hard to watch at times. (On a side note, some of the character motivations of Ballard are a little questionable when it comes to interrogating suspect traffickers.) But this is ultimately a redemptive story, and one that forces us to reexamine a controversial but very real issue that's still prevalent. [July 3, 2023]
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| (Courtesy Netflix) |
"We have to confront the brutal reality. Yet, at the same time, have unwavering faith."
An intimate and compelling music documentary about multi-hyphenate artist-musician Jon Batiste and his wife, journalist Suleika Jaouad. As Batiste was nominated for a record eleven Grammys in 2021 (for three albums, no less), Suleika was diagnosed with cancer and undertook a second bone marrow transplant since her first diagnosis ten years prior. (She has a great Ted Talk from 2019 online.)
An insight into Batiste’s creative process, and the purpose and importance of music, it’s amazing to see this New Orleans native’s transition from studying at Juilliard for seven years, to forming his lesser-known band Stay Human, leading the band on Stephen Colbert’s Late Show, and ultimately performing at Carnegie Hall for a one-night-only, one-of-a-kind symphony performance (a jaw-dropping sequence in 4 movements). Batiste’s Grammy performance of “Freedom” (from the award-winning album “We Are”) is phenomenal, as is his Album of the Year acceptance speech. This is a true artist: fearless, innovative, infectious, genuine, and hopeful. The same could be said of Suleika, a persistent and courageous fighter.
But American Symphony is also a love story. It’s about two people in a beautiful marriage, facing numerous insurmountable pushbacks—and fame, success, and the criticisms that go with them—together, but not being consumed by them. It’s about how these two make the best of bad situations, how they go through recovery and preparation “indefinitely” (sometimes through other forms of expression like painting), and how they inspire each other to be voices for their respective communities and their generation. Despite some brief strong language, this documentary feature (perhaps more than any other 2023 release) shows what it means to be an artist and what it means to be a human being. [December 19, 2023]
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| (Courtesy Disney/Pixar) |
"You gave me something people search for their whole lives."
CGI has certainly come a long way since the 1980s, when characters, environments, and various other effects resembled little more than plasticine. The data has become so significant that even the tiniest details and nuances can be so believable. Which brings us to Pixar's latest fantasy. Going one step further from Inside Out's anthropomorphic emotions, Elemental tells a compelling immigrant story in the guise of an animated adventure that personifies various elements, including fire, water, air, and land.
There's a lot to like about Peter Sohn's second full-length feature as a director (following 2015's incredible and moving The Good Dinosaur). The eponymous Element City is a sight to behold, while the script offers many clever visual gags and puns. Leah Lewis is very engaging as the fiery Ember. Thomas Newman's score is evocative. And, aside from the moving story of an immigrant family growing up and struggling in a new place, what may start out silly soon blossoms into a genuine, heart-tugging romance between Ember and water city inspector Wade (voiced by Mamoudou Athie).
Where the film gets watered down (or fades) is in its middling environmentalist subplot during the second act. Add to that [two or three] passive appearances by LGBTQ characters, and a central love story that puts this into certified romcom territory, and Elemental is not really a film for younger viewers, no matter how creative or clever it looks. [But again, there is a lot to like about it.] [June 20, 2023]
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| (Courtesy Paramount) |
"What's your ultimate objective?"
The Mission: Impossible film series certainly lives up to its name. And it seems to continually raise the stakes with each installment. At least, that's been the case ever since leading man Tom Cruise really lifted the long-running franchise off the ground with 2011's fourth chapter, Ghost Protocol. Returning director Christopher McQuarrie (2015's Rogue Nation and 2018's Fallout) ups his skills as a filmmaker with even more death-defying stunts (including Cruise's now-famous motorcycle jump and sky dive over the Norwegian mountains), but never forgets the emotional heart and stakes of the overall narrative.
In this first part of a two-film finale (the next chapter will be released in [2025]), IMF agent-turned-rogue Ethan Hunt (Cruise) and returning players Luther (Ving Rhames), Benji (Simon Pegg), and Ilsa Faust (Rebecca Ferguson), go up against a mysterious AI, known as the Entity, as well as a cold-hearted enemy from Ethan's past. Hayley Atwell makes a terrific new addition to the series, as a mysterious and vulnerable pickpocket, while Henry Czenzy reprises his role as IMF director Kittridge (from the 1996 original).
The film takes a while to really get going; some exposition and character development is a bit too much. But when it does get going, it kicks into high gear and goes full-throttle. Others key sequences include a high-speed car chase (in handcuffs), a fierce alleyway brawl (featuring a lethal Pom Klementieff), and a jaw-dropping train sequence. Along with McQuarrie's skilled direction, Dead Reckoning Part One benefits from slick editing, explosive sound design, and an operatic score. Our main characters grapple with the past coming back to haunt them, even as they represent "ghosts" themselves, along with themes of identity, death, suffering, starting over, and whether or not the days of "fighting for the greater good" are coming to an end. It's an emotional, gripping, and unpredictable popcorn muncher of a mission--should you choose to accept it. [August 9, 2023]
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| (Courtesy Paramount/Apple) |
"Can you find the wolves in this picture?"
Earlier this year, I had the opportunity of performing in an original play about Black Wall Street in 1921. Between performances, I listened to an audio version of author Victor Luckerson’s latest book, Built From the Fire, which talks about the Greenwood District and the rebuilding of the community over the next century. The book also references murders that occurred around the same time towards wealthy members of the Osage nation, who owned acres of land and oil, near Fairfax. These were the basis for David Grann’s 2017 book, Killers of the Flower Moon, which brings us to the new film adaptation from director/co-writer Martin Scorsese and co-writer Eric Roth.
A masterwork of direction, detail, acting, and thorough involvement with the Osage community, Killers makes the bold choice of unfolding the history in sequence, and through specific characters. These include war veteran Ernest Burkhart (Leonardo DiCaprio, with a thick Southern droll and hesitancy), his wealthy uncle William Hale (Robert DeNiro, with layers of quiet deception), and Osage member Mollie Kyle (Lily Gladstone, in a performance that speaks volumes) whom [Ernest] eventually marries. But Ernest’s motives become complicated as he is torn between his uncle’s schemes to profit from Mollie’s family, and the love he thinks he feels for her.
Even more, this three-and-a-half-hour western saga is not just a slow-burn tale about greed, betrayal, and inexplicable and unspeakable violence. It’s also a piece about the gaps and shifts between generations of families. Plus, it doesn’t condone the violence it portrays (which worried me, based on the trailers). Rather, Scorsese shows us said violence for what it is, while showing remarkable restraint and maturity in a film that honors the memories of those that died and acknowledges this dark chapter in American history. [October 21, 2023]
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| (Courtesy Sony) |
"Everyone keeps telling me how my story's supposed to go! Nah. I’m-a do my own thing."
There are two kinds of superhero films (and films in general): those that follow a conventional and/or predictable narrative, and those that are subversive and take unexpected detours. Most films land under the former category. But Sony Animation's Spider-Verse franchise isn't most films. Watching Spider-Man: Across the Spider-Verse, I can't help but wonder how many screenplay drafts and concept art the filmmakers went through to get to the final cut.
Released over four years after the genre- and medium-bending gamechanger from 2018, this second installment picks up with teenagers Miles Morales and Gwen Stacy, struggling back in their own dimensions and trying to make sense of their respective realities and responsibilities. But when a mysterious supervillain, known as the Spot, shows up in Miles' world and Miles soon discovers a portal to a multiverse where literally every version of Spider-Man lives . . . Let's just say we're in for a wild ride. (And this is only the first-half of a reported two-part story arc a la Infinity War and Endgame!)
The folks at Sony Animation have really outdone themselves by creating new software and technology to further blend the mediums of hand-drawn and computer animation, given the film's mind-blowing and complicated narrative. (And there are, no doubt, clever appearances galore!) This is proof that animation is not only art, but also very cinematic and deep. Even better, Across the Spider-Verse
never forgets its immersive and emotional heart at the center of it all. For younger kids, however, this isn't a recommended pic due to its heavy drama, knuckle-punching action, and surprising language choices; [parents should also be aware of some blink-and-you'll-miss-them trans-related images in the opening sequence]; ditto scenes of flashing lights, which will deeply affect photosensitive viewers. For everyone else, this [is easily] one of 2023's standout pics [with a massive cliffhanger that makes us only imagine how jaw-dropping and out-of-this-world the next installment will be.] [June 4, 2023] (Read my full review
here.)
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| (Courtesy A24) |
"That's just something Koreans say to seduce someone."
One film that's been getting a lot of acclaim this year (and is likely to get several accolades come the next Oscar season) is this introspective directorial debut from Celine Song. Past Lives follows two childhood Korean friends who reunite twenty years later (one married, the other single) and reminisce about what could've been and where they are now.
Song's original screenplay is layered with themes of history, culture, relationship status, upbringing, and immigration, as the aforementioned friends, Nora and Hae Sung (Greta Lee and Teo Yoo give genuine performances), reconnect through social media and eventually in person. I was worried the story would revert to the cliche of couples cheating on each other for an old flame. To the film's credit, it doesn't go that route per se; characters (including Nora's husband, Arthur, played with depth by John Magaro) have real discussions about these things, as well as past memories, destiny, and what was or wasn't meant to be. Still, some viewers may be thrown off by that story element.
Even so, this is one of the most thought-provoking films I've seen in a while. With immersive cinematography by Shabier Kirchner and a lovely score by Christopher Bear and Daniel Rossen, Past Lives is also a compelling and bittersweet alternative to our current era of multiverse features. [July 4, 2023]
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| (Courtesy Focus Features) |
"I heard you got stuck with babysitting duty this year. How'd you manage that?"
Within the first few minutes of Alexander Payne’s period comedy-drama The Holdovers, I felt like I was watching an unseen gem from the early-1970s, complete with custom-made logos and credits that recall films like Love Story and Five Easy Pieces. For his first feature film in six years, Payne works from David Hemingson’s sharp, original, and involving script about a cynical and unlikeable prep school teacher, forced to stay on campus during Christmas break to supervise students who have no home to go to for the holidays. It eventually comes down to one particularly troubling pupil and a widowed kitchen staff member, on a journey of “unlikely companionship” and holiday festivities.
The three central performances by Paul Giamatti (as the cross-eyed Paul Hunham), Da’vine Joy Randolph (as the strong-willed Mary Lamb), and Dominic Sassa (as the rebellious Angus Tully), rank as some of the most fully-committed of the year. All of them represent lonely souls without family, one way or another. Each carry their own set of issues (including profanity, drinking, lying, conversations about sex, and other reckless behavior), but become something of a surrogate family. With its seasonal setting (including striking cinematography by Eigil Bryld, period set design and costuming, all shot on film in the state of Massachusetts) and soundtrack full of holiday hymns and songs, some may also consider The Holdovers as an alternative Christmas movie.
As one of the year’s best acted, directed, and photographed films, it’s a story about sudden changes, heartache, ambitions and hardships, and about finding the humanity and sincerity in all the craziness and madness. It’s a look back at the past that speaks to the present—without talking down to its audience. (Speaking of audiences, this was the opening night feature for the 2023 Twin Cities Film Festival in Minneapolis, MN. The audience’s response reminded me of a screening of [Payne's 2011 film] The Descendants over a decade ago: a combination of laughs, tears, and genuine investment.) [October 20, 2023]
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