I reviewed MINARI for Cine-file Chicago. This would have made the list of my ten favorite films of 2020 had I seen it before last year ended.
Lee Isaac Chung’s MINARI (US) Available to rent through the Gene Siskel Film Center here The title of Lee Isaac Chung’s wonderful semi-autobiographical film refers to an edible, parsley-like plant cultivated throughout Asia. It only makes a brief onscreen appearance in this early-1980s-set family drama–when an elderly Korean woman (the legendary Youn Yuh-jung) plants it on the banks of a creek in rural Arkansas after immigrating to America to live with her daughter–but, on a metaphorical level, the title has a powerful resonance: This is a uniquely American movie about the Korean diaspora and what traditions do and do not take root when its members attempt to transplant their culture into new and unfamiliar terrain. The Korean-American family at the center of MINARI, the Yis, have recently moved from California to a farm in the Ozarks when the film begins. The parents, Jacob (Steven Yeun) and Monica (Han Ye-ri), get menial jobs at a chicken hatchery where they are tasked with determining the sex of baby chicks while Jacob simultaneously attempts to make a more substantial living as a farmer on their newly purchased plot of land. Monica is less than thrilled by their modest new trailer home and is worried about the heart condition of David, their seven-year-old son. There is a palpable sense that most of this narrative is being filtered through the consciousness (even if not always seen through the eyes) of David and his older sister Anne; as in Terrence Malick’s DAYS OF HEAVEN, the problems of the adult world that drive the movie are not fully grasped by the child protagonists who frequently bear witness to them. Yeun, so effective as the creepy, moneyed sociopath in Lee Chang-dong’s BURNING, shows off an entirely different set of colors on his acting palette in the creation of Jacob, a down-to-earth working man whose admirable ambition and problematic stubbornness seem inextricably intertwined. Han likewise imbues the not-so-quietly suffering Monica, a woman visibly struggling against the confines of her narrowly defined social role, with a novelistic complexity. The scenes of conflict between the two of them, often patiently captured by Chung in widescreen master-shots, blow something like Noah Baumbach’s contrived MARRIAGE STORY out of the water. Equally good are the more humorous scenes of the Yis attempting to assimilate into the broader community. Their interactions with members of the local church, and Paul (Will Patton), a religious zealot who works for Jacob, are wryly funny precisely because they’re devoid of the stereotypes that usually plague American films set in “the deep South” (undoubtedly because the script was based in part on Chung’s own childhood memories of growing up in Arkansas). The Reagan-era period details, from Jacob’s slightly ill-fitting red trucker’s cap to the fake wood-paneling in the interior of his trailer home, likewise impress for their subtle but potent authenticity. (2020, 115 min) [Michael Glover Smith]
I am not a fan of David Fincher’s MANK, which I think is a bad movie even apart from how it disrespects the legacy of Orson Welles. Although I tend to make it a point to not post negative reviews on this blog, I find it annoying to see this film contending for awards and cropping on critics’ lists of the best films of the year. So I’m posting the following review (which I originally wrote for Letterboxd) as a counterpoint.
The dubious premise of MANK, that Orson Welles’ CITIZEN KANE co-screenwriter Herman Mankiewicz was the sole author of that screenplay, is unofficially based on Pauline Kael’s long-discredited, anti-auteurist essay “Raising Kane.” But even setting its historical inaccuracies aside, it seems inarguable to me that MANK is David Fincher’s weakest movie since PANIC ROOM. It’s too meticulously made for me to pan outright – the acting is nearly uniformly fine (Amanda Seyfried and Lily Collins are especially good in underwritten supporting roles) and there’s a lot of impressive visual razzle dazzle. But the MANK script, by Fincher’s own father Jack, which producer Eric Roth is rumored to have retooled, is fatally flawed. Actors have to spout reams of expositional dialogue (virtually every scene includes someone saying something for the benefit of the audience like, “You know Louis B. Mayer, don’t you?”) with the result being that neither the period nor the characters inhabiting it ever truly come to life. Gary Oldman, 20+ years too old for the part, is miscast in the title role – although I don’t know if anyone more age appropriate could have saved the ludicrously overwritten and overacted scene where Mank seals his doom by drunkenly describing the KANE script as a modern-day version of Don Quixote to William Randolph Hearst at a dinner party at San Simeon. Even worse: The climactic argument between Mank and Welles, in which the great director destroys his co-writer’s Seconal supply and thus inspires Mank to create the scene where Kane destroys the possessions in his second wife’s bedroom, is probably the single worst scene Fincher has ever directed. In this moment, it’s as if the actor playing Welles, who does a decent impersonation up until the moment he’s required to raise his voice, realizes how bad the material is and throws in the towel. That Fincher, who made a masterpiece with ZODIAC and a near-masterpiece with THE SOCIAL NETWORK, is probably going to finally collect an Oscar for directing this lesser work is a testament to nothing more than how much Hollywood still hates Orson Welles and has never forgiven him for being a visionary ahead of his time. In a more just world, the discourse surrounding Welles’ amazing THE OTHER SIDE OF THE WIND — also distributed by Netflix — would’ve dwarfed the buzz surrounding this slickly produced but ultimately hollow David Fincher vanity project.
1. Terror in a Texas Town* (Lewis) – A- 2. The Chase* (Ripley) – A 3. Thunder Road (Ripley) – A- 4. The Shining (Kubrick) – A 5. The Lusty Men (Ray) – A+ 6. Crock of Gold: A Few Rounds with Shane MacGowan* (Temple) – B- 7. Jimmy Carter: Rock and Roll President (Wharton) – B 8. Boogie Nights (Anderson) – B+ 9. Girlfriends (Weil) – A 10. Silent Night, Lonely Night* (Petrie) – B+
I reviewed Julien Temple’s CROCK OF GOLD: A FEW ROUNDS WITH SHANE MACGOWAN for Cine-file Chicago.
Julien Temple’s’ CROCK OF GOLD: A FEW ROUNDS WITH SHANE MACGOWAN (UK/Documentary) Available to rent through the Gene Siskel Film Center here
As the subtitle of Julien Temple’s portrait of Pogues frontman Shane MacGowan suggests, this basically consists of a series of informal hangout sessions with the unique Irish genius and witty raconteur who stands as one of the great singer/songwriters of the post-punk era. In a series of conversations—with former Sinn Féin leader and admirer Gerry Adams, wife and journalist Victoria Clarke, friend Johnny Depp (who also serves as producer and, unfortunately, appears to speak with a slight Irish brogue during his brief screen time) and others—MacGowan tells the story of his raucous life and times. Like a lot of modern documentaries, this feels more like an audiobook than a movie: MacGowan’s words and songs are superficially illustrated by an overly busy, and overly literal, image track consisting of archival footage, animation, an ironic interpolation of educational film excerpts, etc. But in spite of Temple’s futile attempts at imposing a “cinematic” veneer, this is essential viewing anyway. The chance to hear the larger-than-life MacGowan talk about his groundbreaking fusion of punk rock and traditional Irish folk music makes it unmissable for longtime Pogues fans and a good introduction to his work for the uninitiated. Also, this is one new quarantine movie that will undoubtedly work better when viewed from your couch, where you can freely imbibe along with the interview subjects. (2020, 124 min) [Michael Glover Smith]
Who said there was no upside to the pandemic? I read more books in 2020 than I have in any calendar year in decades, due at least in part to “quarantine life.” I will have read more than 30 by the time the year is over – although the only book I read this year that was actually published in 2020 is Carl Hiaasen’s amusing comedic-mystery novel Squeeze Me (a book so current it contains jokes about COVID-19 and Donald Trump “Zoom bombing” a virtual meeting). I am posting a list of everything I read below and affixing letter grades to each. The books are listed alphabetically by author’s last name:
Sense and Sensibility (Jane Austen) – A+ Go Tell It On the Mountain (James Baldwin) – A+ The Poisoner’s Handbook (Deborah Blum) – B+ Performed Literature: Words and Music by Bob Dylan (Betsy Bowden) – A- In Cold Blood (Truman Capote) – A South and West (Joan Didion) – A- Chronicles Volume 1 (Bob Dylan) (re-read) – A+ My Dark Places (James Ellroy) – B+ Jacques Tourneur: The Cinema of Nightfall (Chris Fujiwara) – A- Wild at Heart (Barry Gifford) – A Killers of the Flower Moon (David Grann) – B+ King-Sized Murder (William Herber) – C+ Squeeze Me (Carl Hiaasen) – B- The Midnight Assassin (Skip Hollandsworth) – A- The Quarter (Naguib Mahfouz) – B+ The Executioner’s Song (Norman Mailer) – B I’ll Be Gone in the Dark (Michelle McNamara) – B- In Praise of Walking (Shane O’Mara) – B John Ford Interviews (ed. Gerald Peary) – B+ Bob Dylan: Prophet, Mystic, Poet (Seth Rogovoy) – B Cinematic Encounters 2: Portraits and Polemics (Jonathan Rosenbaum) – A- All Passion Spent (Vita Sackville-West) – B+ Lady Killers (Tori Telfer) – A- Why Bob Dylan Matters (Richard Thomas) – A Bare Bones and Letters to Lovers (Alyssa Thordarson) – B+ Dylan Goes Electric (Elijah Wald) – A- Bob Dylan in America (Sean Wilentz) – B The Code of the Woosters (P.G. Wodehouse) – A Joy in the Morning (P.G. Wodehouse) – A The Mating Season (P. G. Wodehouse) – A Leave it to Psmith (P.G. Wodehouse) – A-
Lovers of spatially-coherent action movies rejoice! Paul W.S. Anderson and Milla Jovovich, the director/actress team best known for the RESIDENT EVIL franchise, are back with a new fantasy film adaptation of a video game. Personally, I haven’t played a video game since I was a kid in the 1980s – and am therefore unqualified to discuss MONSTER HUNTER in relation to its “faithfulness” to Capcom’s popular series of games – but I do know cinema and I can say that, as a piece of filmmaking, Anderson’s latest succeeds spectacularly. The premise is simple: While reconnoitering in the desert, U.S. Army Captain Natalie Artemis (Jovovich) accidentally crosses over into a parallel world populated by giant monsters with whom she must do battle while trying to make her way back home. The script, written by Anderson, is probably the leanest he’s ever worked with and the result is one of his best films. This movie is pretty much nothing but Milla Jovovich fighting big, badass CGI monsters, which variously look like overgrown insects, dragons and mutated dinosaurs. In many ways, this feels like a silent film — one particularly terrifying scene in which Artemis is trapped by spider-like creatures in a cave is as elemental as Fritz Lang’s DIE NIBELUNGEN. What little there is in the way of plot has to do with Artemis’s relationship to a man known as “The Hunter” (Thai actor/martial artist Tony Jaa), a native of this treacherous world who speaks no English but on whom she must learn to rely as a helper and guide. The chemistry between Jovovich and Jaa gives the movie its heart but, along the way, Ron Perelman and a giant sword-wielding cat also pop up and add to the fun. It’s too bad that most critics won’t take MONSTER HUNTER seriously based on its pedigree when it deserves to be discussed alongside MAD MAX: FURY ROAD and THE LORD OF THE RINGS trilogy, spectacle films with which it earns legitimate points of comparison.
MONSTER HUNTER opens in theaters this Friday, December 18.Visit the film’sofficial websitefor info on tickets and showtimes.
1. The Last Man on Earth* (Salkow/Ragona) – B 2. One Night in Miami* (King) – C+ 3. Ride Lonesome* (Boetticher) – A 4. Seven Men From Now (Boetticher) – A- 5. Possessor* (B. Cronenberg) – B- 6. The Abominable Dr. Phibes* (Fuest) – B 7. The Fly* (Neumann) – B 8. Footlight Parade* (Bacon) – B+ 9. The Silent Partner* (Duke) – A- 10. House on Haunted Hill* (Malone) – D-
1. Hell’s Highway* (Brown) – B+ 2. Hush…Hush, Sweet Charlotte* (Aldrich) – B 3. Junior Bonner* (Peckinpah) – A- 4. Collective* (Nanau) – B+ 5. The Eiger Sanction* (Eastwood) – B 6. Nightmare Alley* (Goulding) – B+ 7. House of Hummingbird (Kim) – A- 8. Dick Johnson is Dead* (Johnson) – A- 9. So I Married an Ax Murderer* (Schlamme) – D 10. The Assistant* (Green) – B-