Reference to tragic death of a child, child abuse, mental illness
Diversity Issues:
None
Date Released to Theaters:
February 5, 2021
Copyright 2021 Lionsgate
A short story by Kurt Vonnegut was turned into a television film for PBS starring Christopher Walken as a shy man who only came alive when he was assigned a part in a play. Susan Sarandon played a woman who fell in love with him and they ended up happily inhabiting roles that kept their relationship exciting. I thought of that when I watched “The Right One,” about a young writer who is drawn to a man who seems to have a dozen different personalities.
Godfrey (Nick Thune) does not conform to the expectations of Bob (David Koechner), an executive sent to improve productivity at his office. But before Bob can begin to express any concerns, Godfrey completely wins him over through a shared dedication to the 90s garage band Blues Traveler. Bob is utterly disarmed. And we soon see why Godfrey is far and away the most successful salesman in his office by far, so successful that everyone overlooks his strange looks and behavior. Just as he did with Bob, he is able to connect to people, even over the phone, finding some link to make them feel comfortable, understood, and open to buying something. We might think of it as code-switching, shifting frames of reference and modes of speech to fit the audience. But this is an extreme version, so extreme that the “real” Godfrey, if there is one, is invisible.
Sara (Cleopatra Coleman) is struggling with writer’s block. Her brash and outspoken agent, Kelly (Iliza Shlesinger) is pushing her to finish a book she has not even started. At an art gallery opening, Sara sees Godfrey in two different personas, and she is intrigued enough to start writing about a character based on him.
And so, she begins to hang out with him, seeing him as an EDM DJ and dancing the tango him. He avoids her at first, but begins to invite her to join him. He thinks they are starting a friendship. She thinks he is material for her book.
Godfrey’s brother Shad (standout M.J. Kokolis) warns Sara to stay away from him, but she ignores him. Finally, Shad tells her something of Godfrey’s background. And Godfrey finds out what Sara is doing.
The script is cluttered and inconsistent in tone and in the quality of the performances. Thune and Coleman do not have a lot of chemistry. It does not have the heft to support its more emotional beats. But like its main character, it has a rakish, if amateurish charm.
Parents should know that this film has very strong language, crude sexual humor, and references to child abuse and neglect, mental illness, and a tragic death.
Family discussion: Which personality is the “real” Godfrey? If you were going to create different personas, what would they be? Should Sara have told Godfrey what she was doing?
If you like this, try: “Benny and Joon” and Thune’s “Dave Made a Maze”
Copyright Netflix 2021When I interviewed John David Washington about “BlackKklansman,” he told me his dream was a film of “The Taming of the Shrew.” His new film, “Malcolm and Marie” could be an audition for that project and based on the results, someone should cast him and his co-star Zendaya right this minute and start filming it tomorrow.
There’s a lot wrong or maybe it is more accurate to say missing in “Malcolm and Marie,” but given the way it was made, it is remarkable how much is right and it is never less than watchable thanks to the palpable magnetism and chemistry of its two stars, who make up the entire cast. This was a pandemic project, made by writer/director Sam Levinson, as he and Zendaya were on hiatus from their “Euphoria” series due to COVID-19 restrictions. So, this film preserves the classical unities of time and space and action, not as a tribute to Aristotle’s Poetics but as a way to keep everyone safe. The cast and crew quarantined together and the entire film takes place in real time during one late evening in one beautiful beach house. It is filmed in gorgeous black and white by Marcell Rév. And it has a script that could have used a couple more drafts.
Malcolm (Washington) and Marie (Zendaya) come home from a big, glittery event in very different moods, so different that they do not at first notice what is happening with each other. Malcolm is proud, happy, relieved, and excited. He pours himself a drink, cranks up the music, starts to dance, and asks Marie to make some mac and cheese.
Marie boils the water and cuts the butter, but she is quiet, reflective, possibly seething underneath.
Malcolm is an up-and-coming film director and they have just come from the premiere of his latest, the story of a young woman struggling with drug addiction. The premiere was a triumph, the kind that may have moved him from up-and-coming to arrived. Following the screening, he was complimented by everyone, even “the white lady critic from the LA Times.” He is delighted with the reaction, but it stings that her compliment compared him to directors like Spike Lee and Barry Jenkins, all Black filmmakers, and not to, say, William Wyler, a white director from the 1940s and 50s. Marie is feeling left out, partly for reasons we will discover, but initially because in his speech at the reception, he thanked a lot of people, including the star of the film, but did not thank her. He apologized in the car on the way home, but it still bothers her.
The rest of the film is up and down and back and forth as they argue, make up, argue, make up, argue, and possibly make up again. There are elements of “Who’s Afraid of Virginia Woolf” as their arguments strip away the boundaries enduring couples are careful to protect, but in this case there is no bewildered, meek, and tipsy other couple to perform for; there is just us. Washington and Zendaya are never less than utterly present, utterly vulnerable, and utterly in control of the constantly shifting moods, challenging and matching each other in every beat as characters and as performers. It is a wonder to watch.
And it is impossible not to be sympathetic to the movie’s failures because they are the faults of daring too much, when too many movies fail for the opposite reason. “Malcolm and Marie” tries to bring a lot into the world of these two people in two hours, with issues of race and culture and the relationship of the critic to the artist and who gets credit for what and when and probably also what art is for in the first place. A lot a lot a lot, all from two people talking. It is unlikely that it would have been made this way without the restrictions of a pandemic, including the claustrophobia of the entire crew quarantining together. What other conditions could create this work? How else could we explore these issues in this way? Think of other movies about two people talking. “My Dinner with Andre” was constructed, with everyone going home after a day of shooting, and “Before Sunrise” and “Columbus” had whole cities to explore.
“Malcolm and Marie” may end up as a footnote in what are sure to be long and rich careers for the filmmakers. But it is well worth seeing as an example of what can be done when it seems like nothing is possible, indeed what can be inspired by a moment that seems stuck. I came away hoping the characters go on together and looking forward to whatever Washington and Zendaya do next.
Parents should know that this movie includes very strong language, explicit sexual references and situations, tense confrontations, and discussions of drug addiction.
Family questions: Do your sympathies shift back and forth over the course of the movie? When? Why?
If you like this, try: “Who’s Afraid of Virginia Woolf” and “My Dinner with Andre” as well as other films from Washington and Zendaya and the works of William Wyler
The Golden GLobes get a lot of attention because they have a big, glittery award show, but their nominations are not always consistent with the choices of critics and industry groups. They are decided by a small group of international journalists living in Los Angeles. This year’s nominees reflect our pandemic viewing, with streaming services getting the majority of nods, Netflix with 22 and Amazon with 7. They have been criticized already for overlooking outstanding Black performers and for some quirky choices like “Music,” and Jared Leto in “The Little Things.” The best news about the Golden Globes is that the show will be hosted by Tina Fey and Amy Poehler. It won’t be the same without the chance to see the biggest stars of Hollywood and television getting tipsy during the broadcast, but it will still be a lot of fun.
MOTION PICTURES
BEST MOTION PICTURE – DRAMA
THE FATHER (Trademark Films; Sony Pictures Classics)
PROMISING YOUNG WOMAN (LuckyChap Entertainment / FilmNation Entertainment; Focus Features)
THE TRIAL OF THE CHICAGO 7 (Marc Platt Productions / Dreamworks Pictures; Netflix)
BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA
VIOLA DAVIS
MA RAINEY’S BLACK BOTTOM
ANDRA DAY
THE UNITED STATES VS. BILLIE HOLIDAY
VANESSA KIRBY
PIECES OF A WOMAN
FRANCES MCDORMAND
NOMADLAND
CAREY MULLIGAN
PROMISING YOUNG WOMAN
BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA
RIZ AHMED
SOUND OF METAL
CHADWICK BOSEMAN
MA RAINEY’S BLACK BOTTOM
ANTHONY HOPKINS
THE FATHER
GARY OLDMAN
MANK
TAHAR RAHIM
THE MAURITANIAN
BEST MOTION PICTURE – MUSICAL OR COMEDY
BORAT SUBSEQUENT MOVIEFILM
(Four By Two Films; Amazon Studios)
HAMILTON
(Walt Disney Pictures / RadicalMedia / 5000 Broadway Productions / NEVIS Productions / Old 320 Sycamore Pictures; Walt Disney Studios Motion Pictures)
MUSIC
(Pineapple Lasagne Productions / Landay Entertainment; Vertical Entertainment / IMAX)
PALM SPRINGS
(Party Over Here / Limelight Productions; NEON / Hulu)
THE PROM
(Netflix / Dramatic Forces / Storykey Entertainment; Netflix)
BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – MUSICAL OR COMEDY
MARIA BAKALOVA
BORAT SUBSEQUENT MOVIEFILM
KATE HUDSON
MUSIC
MICHELLE PFEIFFER
FRENCH EXIT
ROSAMUND PIKE
I CARE A LOT
ANYA TAYLOR-JOY
EMMA
BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – MUSICAL OR COMEDY
SACHA BARON COHEN
BORAT SUBSEQUENT MOVIEFILM
JAMES CORDEN
THE PROM
LIN-MANUEL MIRANDA
HAMILTON
DEV PATEL
THE PERSONAL HISTORY OF DAVID COPPERFIELD
Copyright Netflix 2021A lot of thought goes into weddings, but very little of it focuses on one of the promises couples make, the one about “in sickness and in health.” And yet those of us who are lucky enough to share our lives with the ones we love for decades will face a time when one has to care for the other. In “Supernova,” Colin Firth and Stanley Tucci play a longtime devoted couple who are facing one of the most painful losses of all. One of them has been diagnosed with dementia.
Firth plays Sam, classical pianist, and Tucci is Tusker, a successful novelist. Asleep, they tenderly embrace. Awake, they amiably bicker and banter as they embark on a road trip in a well-traveled camper.
Sam is clearly the more serious of the two, with Tusker more sardonic and a bit of a tease. Writer/director Harry Macqueen understands the rhythms, stresses, and enduring pleasures of a long-term relationship. And Firth beautifully portrays the way Sam worries, worries about revealing that he is worrying, all the time relishing his time with Tusker all the more because he knows there will be less of Tusker every day.
The trip itself is about memory as they visit places and people that have meant the most to them. And as we understand better the strain they are under, their connections and conversations take on deeper meanings. Looking out at a magnificent view that many couples have found romantic Tusker asks what wish Sam would make. Sam says something many couple have said in that same spot. He wishes this vacation could go on forever. But what he means is that he wants to freeze this moment. Tusker, even impaired, knows Sam well enough to respond to the subtext: “So can you tell that it’s gotten worse?”
The trip takes them backwards and forward. They relive some of their past, through recollection, stops at meaningful locations, and encounters with people who have been important to them for a long time. And then obliquely and then more explicitly they look ahead as they consider their options and priorities. Tusker will become more dependent but, most terrifying for both of them, he will become less himself.
How much deference do you give to someone you love deeply when his judgement may be severely diminished? How much deference do you give to someone you love when he wants to care for you — and you don’t want to be cared for, you want both of you to be spared what will inevitably be (literally) horrible?
Macqueen has a light touch with the bigger picture hinted at in the movie’s title. His palpable sympathy for both men and for the complexity of the decisions they are making and the subtle, sympathetic performances from Firth and Tucci make this film a quiet gem, true to the characters and their love story.
Parents should know that the themes of this movie including memory loss and suicide and characters use very strong language.
Family discussion: Do you agree with Tuskar’s decision? How should Sam respond?
If you like this, try: “Still Mine,” “Away From Her,” “The Leisure Seeker,” “Blackbird,” and “I Remember Better When I Paint”
I can’t say for sure but to the best of my recollection in the history of the Academy Awards, only one presenter had the presence of mind to bring — a letter opener. That was Cloris Leachman, the year after she won her Oscar for Best Supporting Actress. While she is usually remembered today for her comedic roles, her Oscar was for a heartbreaking dramatic portrayal of vulnerability in “The Last Picture Show.”
Few people recognized her from her brief role as a cheerful prostitute in “Butch Cassidy and the Sundance Kid.” Or as “Lassie’s Mom” in one season of the television series about the boy and his collie or a reliable guest star on 1950s and 60s television series, including “Lancer,” the one featured in “Once Upon a Time in Hollywood.”
But when she appeared as Phyllis Lindstrom, the very proper neighbor/landlady on “The Mary Tyler Moore” show, she became an instant household name, ultimately getting her own spin-off series.
The opening credits spoofed “The Mary Tyler Moore Show” and any theme song that extolled the irresistibility of its star.
Leachman appeared in just about every form of entertainment, most recently providing the voice of the grandmother in “The Croods” and last year’s sequel. She was also known for being quirky, outspoken, and something of a hippie back in the day.
Cloris Leachman and my mother were in the same dorm at Northwestern University freshman year, until Cloris dropped out, and they stayed friends. My mother loved to tell us how Cloris got out of an exam by tearfully telling the professor about her boyfriend who had just been killed in WWII. (He wasn’t killed, in fact he didn’t exist.) Mom says she was a very believable actress even then.
In the 1970s, when my father was asked to give the graduation speech at Northwestern, he told the students that his roommate at the school was the journalist Sandor Vanocur and my mother’s was Cloris Leachman. “If only we were students now,” he said with mock regret. “I could have had Cloris Leachman as my roommate and my wife could have roomed with Sandy Vanocur.” This was considered rather racy and daring back in those days when many schools still had parietal rules limiting visitors of the opposite sex, and the idea of mixed-gender dorms was just beginning to be considered.
Cloris Leachman heard about the speech and wrote to my father. “I am deeply insulted!” she wrote. “How dare you suggest that I would have roomed with you at Northwestern! I would have roomed with Sandy Vanocur!”
