New in Theaters Archives - Can't Stop the Movies
Can't Stop the Movies
4Jul/170

Baby Driver (2017)

Planning a getaway?  You need Baby behind the wheel.  He's been stealing cars and leaving the police in a disappearing trail of exhaust since he was a kid.  Just when Baby thinks he's found love and can get out of the getaway business, he's called back for one last job.  Edgar Wright wrote the screenplay for and directs Baby Driver, and stars Ansel Elgort, Lily James, Kevin Spacey, Jon Hamm, and Jamie Foxx.

Let me pull you in on a secret I've been able to keep for about an hour and a half - I was rooting for Buddy (Jon Hamm) toward the end of Baby Driver.  I have a soft spot in my critical heart for villains who abandon the pretense of meaning behind their actions and are upfront about what they do.  It's not always this way with Buddy, and a common theme of all Edgar Wright's characters in Baby Driver is that they put on a false front to push themselves through their crimes.  Buddy is a driven villain by the end, and as cheesy as his promises to get Baby (Ansel Elgort) are, Hamm drives them home with his best big-screen performance while Wright bathes the combatants in blue and red lighting that make Buddy's showdown with Baby a titanic good vs. evil clash.

The other reason, and the one more troubling for Baby Driver, is that Baby is a blank slate living selfishly and without consequence.  Wright crafts Baby with a conventionally heartbreaking backstory that doesn't excuse the callous way Baby treats the world.  We get glimpses of this in a bravura single-shot sequence where Baby dances through Atlanta without a second thought to the people around him.  Baby shoves people, rightly earns scorn from a coffee shop employee who wants to get this kid his coffee so he'll leave, walks in front of traffic with a bow and a smile, and generally acts like the kind of entitled ass who needs a slap.

3Jun/172

Wonder Woman (2017)

Sculpted with clay, given life by Zeus, and gifted with immense strength - Diana, princess of the Amazons, cannot ignore the war that has engulfed the world outside her island.  Sword and shield in hand she embarks on a journey to slay the god of war and put an end to years of death.  Patty Jenkins directs Wonder Woman, with the screenplay written by Allan Heinberg, and stars Gal Gadot and Chris Pine.

Starting with Man of Steel in 2013, the movies of the DC universe have grappled with a question of faith.  Zack Snyder's Man of Steel and Batman v Superman: Dawn of Justice wrestled with what good faith in a higher power can do in a world beset with evils.  David Ayer upped the mortal ante on the question of faith in Suicide Squad showing the hubris of humans who think themselves deities trying to control forces they barely understand.  Now it's Patty Jenkins' turn to call, raise, or fold the question of what good faith can do, and she raises the stakes in the graceful Wonder Woman.

Wonder Woman is at its best in the opening act that has modern-day Diana (Gal Gadot) receiving a photograph that sends us back in time to her origins.  There is no question if deities exist on the island of Themyscira, home of the Amazons, as Diana's existence is owed to a clay figure created by Queen Hippolyta (Connie Nielsen) and given life by Zeus.  Knowing first-hand that your existence is due to divine intervention puts the question of faith on hold for a different question.  Now that we know the deities exist, why haven't they come to our rescue?

The answer lies in the setting of Wonder Woman - not Themyscira - but a world engulfed in total conflict.  World War I, and the resulting loss of faith in religion, imperial power, and basic decency, was one of the catalysts that spread Modernism as an art form.  Humans the world over began to reject old teachings and embrace ways of making it new (to paraphrase Ezra Pound.)  One scene between young Diana and her mother illustrates this perfectly as a picture book comes to life when Hippolyta tells Diana how the gods fell.  Jenkins draws from Hieronymus Bosch's painting The Garden of Earthly Delights, the stop-motion action of Jason and the Argonauts, and a child's innocence to present a largely bloodless conflict of animated figures.

9Apr/170

Rogue One: A Star Wars Story (2016)

There is little time for informed optimism in the galaxy.  The Empire is expanding their grip on each star system, the Rebellion is not agreeing on any tactic for counterattack, and the agents working against the Empire in secret can't recognize allies in the dark of their activities.  But hope comes in unexpected ways, and the discarded agents of the Rebellion stumble on the one thing that might bring light back to the galaxy.  Gareth Edwards directs Rogue One: A Star Wars Story, with the screenplay written by Chris Weitz and Tony Gilroy, starring an ensemble cast led by Felicity Jones and Diego Luna.

"How come I've never seen you people before?"
"Because we are the people you do not see."
-Dirty Pretty Things-

The Force Awakens (TFA) had one too many weights on it keeping the images from soaring.  The most detrimental was how TFA held responsibility in bridging the old and new worlds of the Star Wars universe together.  Flashes of inspiration, most notably in the trio of Daisy Ridley, John Boyega, and Adam Driver, kept the rebooted Star Wars series promising if not successful artistically.

I was completely unprepared for Rogue One: A Star Wars Story (Rogue One moving forward).  Friends exalted Rogue One, and I read their words mystified at how many loved ones reacted strongly to a one-and-done Star Wars film about a mission I know could not end well.  Even if I had embraced their words and gone into Rogue One full of optimism I would have been surprised.  Rogue One isn't powerful because of the courage in facing up to a seemingly invincible opponent, but because of its focus on unseen population of the Star Wars universe, the ones who work the camps, pilot the ships, and toil in squalor.  This is the cry of the unsung, and will not be ignored.

A considerable chunk of Rogue One's success is how director Gareth Edwards, working from a screenplay by Chris Weitz and Tony Gilroy, understands both the original and prequel trilogies were critiques of American politics.  Because each film of the original trilogy was directed by different people, A New Hope bears the strongest stamp in how our benign liberal heroes are one step away from working for the Empire while ragging on the aliens and droids that make their lives bearable.  The prequel trilogy was a sustained critique of Clinton-era liberalism, paralleling the rise of New Age feel-good selfish spirituality with the obliviousness of the old Jedi Order, while rooting our emotional investment in the one person who realizes the harm in the Jedi code but lacks the vocabulary to explain it.

29Mar/170

Get Out (2017)

Chris and Rose are happy place.   They’re young, in love, and ready to take the next steps in their relationship by having Chris meet Rose’s parents.  But Chris is hesitant – do they know he’s black?  Despite Rose’s reassurances, Chris starts the visit uneasy and grows suspicious at the behavior of everyone around him.  Is Chris paranoid, or is Rose’s family setting him up for something sinister? Jordan Peele writes and directs Get Out, and stars Daniel Kaluuya, Allison Williams, Bradley Whitford, Catherine Keener, Caleb Landry Jones, and Stephen Root.

There was the usual theater-wide bustle of activity as my screening of Get Out started.  Onscreen, the camera cranes down from high above a suburban street and starts circling around a black man, on his phone, trying to figure out where he needs to go.  Behind me, there was the sound of shushing as we settled in, and one of the shushers gave a loud, “Quiet,” to our right.

No one was there, at least no one physically in the theater.  Director Jordan Peele crafted the sound in such a way that the conversation seemed to come from the rear of our theater before slowly making its way to the front to center on the nervous man.

Folks, that is one hell of a way to get your audience involved in a movie early on.  With this opening scene, Peele integrated one of the most common experience of our communal enjoyment of movies – the chatter – and redirected the audience’s attention in a way that let us know we were manipulated early on.  The formal visual qualities impressed as well as Peele used the crane to create an unsettled aura around the man, as if we and he are aware that someone will violate his personal space soon.

16May/160

Knight of Cups (2016)

Rick wanders Los Angeles, searching for meaning in decadence and art.  Terrence Malick writes and directs Knight of Cups, starring Christian Bale.

Not for touchingTo the Wonder put me at a breaking point with Terrence Malick.  His trademark dreamy visuals centered on yet another collection of billowing wheat and shifting clouds which read almost as parody.  So when I heard the advance buzz around Knight of Cups, where even sympathetic critics were having a hard time connecting with it, I prepared myself for another ponderous if beautifully shot round of navel-gazing.

My reaction coming out of Knight of Cups was positive, but it wasn't born from the diminished expectations his previous films and fellow critics generated in me.  I was instead struck by how Malick so wonderfully communicated a painful truth about life and art.  It hurts to care, and a sense of detachment is necessary to live the life of someone who goes around trying to both empathize and make better the lives of those who suffer.  Focusing on this detachment, by presenting Christian Bale as a sort of heavenly knight of the streets who wanders from one part of the city to the next, Malick creates a hymn to the isolation of modern existence.

This, maybe, is why I didn't react as strongly to The Tree of Life and was hostile toward To the Wonder.  From Badlands to To the Wonder we have spent so much time in nature with Malick that it seemed he could toss something like To the Wonder together with a spare few weeks.  Knight of Cups was made much like his other films, where the performers have little idea of what their characters are like and he keeps the sparse dialogue close to his chest.  But there is little of the nature we commonly think of, not as much plant life and ponderous cloud shots, and more modern art installations with Bale's impassive face leading us from one section to the next.