Amateur Dick

If it was ever possible for a film to be of the wrong time as well as utterly relevant for its time, Francis Lawrence’s Red Sparrow would be it. Like a hybrid of a 1970's B exploitation pic and Italian giallo thriller (it relishing in its moments of sadism, violence and nudity), at the same moment, it is a worthwhile vehicle for its female lead. Dealing with topics such as rape, revenge, retribution, and politics, its old-school style story-telling (with twenty-first century glossy filter) has likely pushed it to the fringes – with such issues ripping through Hollywood and American politics itself, it may be too close to home for many to enjoy. A motion picture that would have thrived on the drive-in circuit back in the day, it is a twisty (and twisted) Machiavellian tale of spy-craft and game-playing. . . a dog eat dog, cutthroat world. Led by a daring performance from Jennifer Lawrence (reuniting with her Hunger Games director – that is, of films two, three, and four), she plays Dominika Egorova, a prima ballerina in Russia. After a horrible injury, she is left in a precarious position, as she does not have the money to support herself or her sickly mother, Nina (Joely Richardson).

If you were formulating a modern day all-star cast and crew, you couldn’t do much better than The Post. Directed by the legend that is Steven Spielberg (three time Oscar winner and seventeen time nominee, as well as the recipient of the Irving G. Thalberg Memorial Award for “Creative producers, whose bodies of work reflect a consistently high quality of motion picture production”), Meryl Streep (three time Oscar winner and twenty-one time nominee), Tom Hanks (two time Oscar winner and five time nominee), composer John Williams (five time Oscar winner and fifty-one time nominee), cinematographer Janusz Kaminski (two time Oscar winner and six time nominee), and co-writer Josh Singer (Oscar winner for 2015's Spotlight), it is a veritable who’s who of the industry. Tackling the battle between the Washington Post and Richard Nixon’s government of the 1970s, Streep plays Kay Graham, the somewhat reluctant head of said newspaper. A woman in a man’s world, she has a difficult time transitioning from the non-working socialite wife to decision-making newspaper mogul. Tears always seem like they are soon to come as she clumsily drops things and nervously bumbles her way through this confusing world.

Talk about an opening hook: “This is the true story of a man and a gun and a car. The gun belonged to the man. The car might have been yours – or that young couple across the aisle. What you will see in the next seventy minutes could have happened to you. For the facts are actual.” A perfect film noir introduction, the 1953 crime thriller The Hitch-Hiker, co-written and directed by Ida Lupino, is a seventy-one minute ride down a road you most definitely would not want to travel. In a simpler time (when people still picked up hitch-hikers), Emmett Myers (William Talman – best known as District Attorney Hamilton Burger on Perry Mason) utilizes this mode of transportation to evade the police. . . murdering those kind enough to pick him up. Dumping the body (or bodies) and abandoning the car, his thumb then goes up as he plays the stranded traveller – his two newest would-be-victims are Roy Collins (Edmond O’Brien – D.O.A.; White Heat) and Gilbert Bowen (Frank Lovejoy – In a Lonely Place; House of Wax).

Filmed with a frenetic flair to match its oh-so-frenetic storyline, writer/director Tom Tykwer has us sprinting along with the protagonist in his 1998 hit Run Lola Run. A unique, creative and somewhat out-there premise, this German motion picture is, in a way, reminiscent of Krzysztof Kieœlowski’s Polish film Blind Chance, which was reviewed on Filmizon.com back in June of 2016. Our mind is, simply put, amazing. We make decisions in a split second, and that moment can change our life just as quickly. Dealing with this idea, Tykwer introduces us to Lola (Franka Potente), whose just received a distressing call from her boyfriend Manni (Moritz Bleibtreu). A low-level criminal that is being tested by his boss, Lola was supposed to pick him up after his shady dealings. But, bad luck rears its ugly head (as her Moped is stolen) and Manni is forced to find his own way home. Sneaking onto the subway, he accidentally leaves the one hundred thousand German Deutsche Marks he is transporting on the train, after being nabbed for not purchasing a ticket. Witnessing a homeless man (Joachim Król) picking it up, he knows all is lost. Meeting his boss in only twenty minutes, he is desperate enough to threaten to rob a store just outside of the phone booth he is making the call from.

After a multitude of lackluster features, M. Night Shyamalan has returned to form with his most recent, more independent style foray, 2016's Split – a horror/thriller with an unexpected. . . or should I say, an expected twist (could it be that there is no real twist?). Featuring a tour de force performance from James McAvoy, the talented actor takes on the role of a plethora of very different personas, as his character has more than twenty split personalities. Ranging from a lisping young boy and grand British dame, to a fashion designer and Christopher Walken-like New Yorker, one of his splits, Dennis, kidnaps three teenaged girls, Claire (Haley Lu Richardson), Marcia (Jessica Sula), and Casey (Anya Taylor-Joy) from a public parking lot. Claire and Marcia are, for all intents and purposes, the popular girls in school – the type of gals that most cling to and the rest hate, while Casey is a lone wolf and outsider, her unusual ways forcing her to the periphery of the mainstream.

One of the most buzz-worthy performances of this past Awards season, Isabelle Huppert’s multi-dimensional turn as rape victim Michèle Leblanc in the French film Elle, directed by PaulVerhoeven, led to a wide array of nominations and wins, with her taking home the Golden Globe for Best Dramatic Performance but ultimately losing the Oscar to Emma Stone. The film also took home Best Foreign Language Film at the Globes. Beginning with the intense, jarring end of the horrific rape (the only witness, her less than helpful cat), Michèle (Huppert) doesn’t hysterically scream or phone the cops after her masked assailant has departed, but quietly cleans the mess left by the attack (and then herself) – simply returning to the normalcy of her life after doing the tasks.