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“I, Tonya” film review

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Of skates and class. Margot Robbie stars as the first US woman to successfully land a triple axel…also the most infamous woman in the history of US Figure Skating in what is likely one of the most difficult and controversial biographical films ever produced. Tonya Harding is back in the headlines and on TV, and even on the ice if you caught last night’s 2-hour Truth and Lies special on ABC. While most Olympiad names are forgotten within a short amount of time, Harding and Nancy Kerrigan’s names will always have notoriety through the years. Nearly 25 years later, we find ourselves still talking about Tonya Harding. The biopic I, Tonya directed by Craig Gillespie and written by Steven Rogers provides audiences with an unapologetic glimpse into Harding’s early life through “the incident.” It is unlike any biographical film that I have ever seen before. Most often, biopics slant toward making the central character more likable than perhaps they were in real life. This film approaches Harding from the perspective of not shying away from her foul-mouthed, inability to take responsibility, violent temper; instead, showing us an authentic Harding who struggled through life to break the chains of classless poverty and emerge onto the scene as a professional figure skating record-setting champion. While this movie does not set out to prove what really happened, it does show what is likely to have happened. Although “the incident” is what everyone remembers, this movie shows a struggling young person attempting to change but thwarted at every angle by hearing that she cannot because she isn’t what America is looking for and has no class. But why couldn’t it have been just about the skating???

Tonya Harding (Margot Robbie) took to ice like a fish takes to water. She was an ice skating prodigy from the soft age of four when she took her first lesson from coach Diane Rawlinson (Julianne Nicholson). Growing up poor, she faced obstacle at every triple toe loop. From mental and physical abuse to sexual abuse, she weathered it all. Her mother LaVona (Allison Janney) was a monster of a woman who pushed and pushed in order to toughen “soft” Tonya. Even hot-tempered Tonya found love–albeit brief–with Jeff Gillooly (Sebastian Stan). The mental and physical abuse continued and only worsened after she set the world record for being the first US woman to successfully land a triple axel in 1991. But she would come in fourth in the 1992 Olympics. She fell into despair after that crushing defeat. When the US Figure Skating association gives Harding a second chance at the 1994 Winter Olympics, all seems like it is finally going her way, and she would finally experience the success she dreamt of her entire life, until “the incident.” Of course, as we all know, she went on to become a national punchline, material for comedians and sitcoms, and the most well-known name in the US after Bill Clinton.

Even though crime and ice skating are central elements in this film, it is truly a commentary on class and abuse. From the moment the movie opens with Harding and her mother smoking a cigarette at the ice rink in Harding’s hometown of Portland juxtaposing them against the pretty and proper coach with her students, we know that we are about to watch a story of class warfare. All Harding wanted was to excel at the sport she was naturally gifted at. Only one small problem: society and the figure skating association made it incredibly difficult–if not nearly impossible–for Tonya Harding to break free of her roots in classless poverty. But don’t allow the beginning of the film fool you into thinking she Harding is a kind soul who finds herself the underdog, she has a volatile temper and foul mouth that constantly gets her into trouble during practice and in competition. This film is an underdog story, but quite the unconventional one. Because we already know going in that she went from the first woman to land a triple axel, national champion to disgraced skater and unsuccessful boxer. For all its various plot points, the common theme throughout the movie is whether or not to allow your financial station in life to determine your behavior on and off the ice. Class has little to do with money, but rather, is a state of mind and demeanor. Perhaps we have a better idea of why Tonya behaved the way she did. The film never excuses her behavior or indirect knowledge (after the fact) of what her husband mastermind, but peels back the 24-hr 1990s news coverage in order to empathize and understand what made Tonya tick.

Is it possible for a square peg to fit into a round hole? Certainly, the life of a figure skater, especially one who represents the US on the global stage, is incredibly structured, polished, and constructed in such a way that the skater always looks his or her best to the public–a facade if you will. But, the once bright career of Harding serves as evidence that if you don’t come from the right family, have the right costume (or clothes), or speak eloquently, then the arena has no place for you. Perhaps that is why Harding still has fans despite her infamy. Although according to the film, she could have spoken up a lot sooner to help the investigation along instead of being fully consumed by having to make the 1994 Olympic team and indirectly covering for her ex-husband, she was dealt a dirty hand by judges and rivals who felt she just didn’t belong with them; and America generally liked an underdog. Unfortunately, this underdog got caught up in a scandal the followed a long history of irreverent behavior. The media coverage certainly did not help Harding’s case any. With the availability of CNN’s 24-hour news coverage, birthed out of the Gulf War now able to capture everything in order to have stories constantly grabbing audience attention, the film paints a picture that the media treated her unfairly and convicted her before the court’s decision to prohibit her from ever competing or coaching again, and the subsequent stripping of titles. Just some food for thought.

The topic of abuse is not shied away from in this film. We witness Tonya suffering from the brutal tongue of her mother, as well as constant physical abuse. Because there lacked the number of social programs for the protection of children and teenagers we have today, and schools were not as in tuned to abuse at home, she had little choice but to deal. Eventually, she would succumb to lashing out in similar ways to what which she experienced every day growing up in that house–house, not home. Her mother attempts to rationalize and excise her behavior because she tells Tonya that fear and anger will drive her to be a champion, but that doesn’t change the lasting affect the lifelong abuse had upon Tonya. It’s entirely possible that Tonya sought out Jeff because she was used ot abuse and felt that she needed it. Talk about warped.

The quality of this biopic is incredible! I absolutely loved the “interview” footage in the 4:3  format whereas the main narrative was in 16:9. Felt like we were watching actual news coverage in 1998. At first, I thought we were, but then I recognized Margot Robbie behind the exquisite makeup and costuming job. It has such an organic–no pretense–feel to the film. Robbie and her costars had me fully convinced that they were their respective characters. All around, the commitment to character was outstanding. Robbie commented in an interview that she studied footage of Harding for over a year, and it shows brilliantly! When the actual footage rolls at the end of the film, it is incredibly difficult to tell the real Tonya from her screen counterpart. Robbie’s monologue in front of the mirror is certainly one for the record books because of just how authentic and powerful it is. The production design and cinematography create a time machine; you will feel as though you have been whisked back 20-30 years throughout the film. Authenticity in spades. Director Craig Gillespie should be immensely proud of the film he crafted! Excellent writing, acting, technical elements. This biographic motion picture has it all. And will certainly get you to once again talk about Tonya Harding.

Highly recommend for those who enjoy controversial biographical films. The high profile critics are not exaggerating when referring to it as one of, if not the, best film of the year. There is so much to like, and for some, hate about this film. Whether you believe her to be criminal or not, there is no doubt that you will be blown away by the quality of this motion picture.

“Jumanji: Welcome to the Jungle” (2017) movie review

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You know what, it’s actually good! I know, right??? For months now, many of us thought the sequel to the 90s classic was going to be a disaster. The truth is, this movie is incredibly well written, directed, and acted, and will ‘suck’ you right into the story. It’s been a long time since I’ve seen a movie that was this much fun to watch. In fact, Jumanji: Welcome to the Jungle has a high degree of entertainment value and rewatchability. Honestly, the only negative critique is that the stakes are not high enough because, at the end of the day, you know the characters are in a video game whereas the actual town was under attack in the original. Although this is a completely new story and fresh take on the 1995 film, there are enough nods and references to the original that keep it within the same universe. All the characters display excellent chemistry and are lovable! You have solid writing, characters that you love and love to hate, humor, and action! In short, it’s an excellent movie. I went into the movie expecting to laugh AT the movie, and my friend and I found ourselves laughing WITH the movie. Furthermore, I was worried about the movie having way too much CGI because the characters are in a video game, but I am delighted to report that there is, for all intents and purposes, little CGI compared to many other action-adventure films.   This movie goes to show that when you have well-developed characters with well-defined external goals opposed by external forces in a visually intriguing setting supported by effective direction that you have a recipe for a successful movie. I remember in the first movie the game directions “do not begin unless you intend to finish,” and those words were taken to heart because director Jake Kasdan began and finished well. Do yourself a favor, and catch Jumani: Welcome to the Jungle this holiday season with your friends or family!

“Last Flag Flying” film review

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An all-star cast takes audiences on a memory journey of war, loss, friendship, and patriotism as genuine human emotions are dealt with through comedy and grief. Amazon Studios hits a homer again with the release of Last Flag Flying distributed by Lionsgate. Now in select theaters, writer-director Richard Linklater crafts an incredible motion picture that organically deals with the loss of a loved one during a time of war through the stages of grief and irreverent comedy between friends. While this film is currently flying under the radar, don’t allow that to dissuade you from watching this incredible war film. I cannot remember the last time that I saw a film that felt so genuine. Watching this film, I truly felt like a fly on the wall, watching a Vietnam vet deal with the loss of his son and reconnecting with some of the closest friends he ever had in his life. Last Flag Flying is a subgenre of war movies that places the camera at a distance from the characters and allows them to mourn and laugh on screen without interference from censors and other outsiders. While not a conventional war movie, the topic of war is found underlying many diegetic components. Dialogue driven, this film provides social commentary on patriotism, God, and friendship. Bring your listening ear to this movie because the context of the tough subject matter contains subtle yet powerful messages that highlight otherwise unstated emotions. Sometimes the best way to go through the stages of grief is to throw caution to the wind and allow humor to work its powerful remedy.

Three Vietnam war veterans reunite for a different kind of mission that forces them to deal with the present and the past. When Larry “Doc” Shepherd (Steve Carrel) arrives at the dive bar that belongs to former comrade Sal Nealson (Bryan Cranston), he asks his Marine brother to go with him without naming where. Sal drives Shepherd to a old country church now pastored by their Marine brother Richard Mueller (Laurence Fishburne). When Shepherd doesn’t touch his pale cobbler, the group realizes there is something wrong. It’s then the Shepherd reveals that his son was killed outside of Baghdad, and wants his two Marine brothers to go with him to bury his son at Arlington. Along the journey, the three former military comrades are forced to come to terms with their shared past that continues to shape their present lives by discussing tough topics such as grief, God, war, honesty, and addiction.

The sheer storytelling beauty of Last Flag Flying is found in the solid writing made evident through the excellent direction and A-list cast (and one surprising cameo that I won’t mention because it will detract from the brief but powerful screen presence). While it may appear like a somber tragedy on the surface, beneath that surface of sadness beats the heart of dark but respectful comedy that takes audiences on the memory journey right along side the characters. War movies about the loss of loved ones is not something new; but this film allows the characters to go through the stages of grief in organic ways that paints a motion picture of how human these emotions are. Human. Truly human. At times, there are no holds barred when three very different voices all converge on the same topic. You have the grieving father, a reverend, and foul-mouthed barkeep discussing everything, just as friends in real life often do. In many ways, these three former military comrades could not be any different in their present states; but at one time, they were inseparable and very much alike. While the focus of the film could have been on Shepherd’s loss or the politics of war, the focus is clearly on what makes us human and how one genuinely has to deal with loss due to war. Not that discussions of politics and religion are not found in this film–they are–but the discussions and arguments between these friends are used as tools to comment on the human condition. Because we never see combat footage, the expositional dialogue about war and politics adds incredible weight and a little mystery to the events in the film.

Before you begin to think that Linklater uses flashbacks to connect the present to the past, think again. While that would have been the easy, lazy way of accomplishing that task, he chooses to connect the present to the past through exceptional exposition between characters that prompt the audience to engage their own emotions to connect the pieces of the story together. Because we never shift between the past and present, the main story is always the main story. When constructing strong characters as we have this this film, it is the responsibility of the actors (though proper direction) to not allow the actor to get in the way of the character. Honestly, there are times that I see the individual actors eclipse the respective character, but most of the time, the audience will see the characters themselves throughout the dark comedy. The cinematography is simple, but perfect for the story within this motion picture. Linklater uses no gimmicks to tell this thought provoking story. The movie has an intimate feel to it because you can likely identify with one of the lead or supporting characters, especially when they are talking about “Disneyland” in Vietnam (you’ll just have to watch to understand why that’s in quotes). So incredibly genuine. No pretense about any of the characters in the film.

The content of this film truly reflects the tenor of the times in which we live. Topics of war, politics, and religion seem to be inundating us from all angles. It takes a special film to deal with each of those respectfully, candidly, and effectively. The trifecta of voices in this film allows the thought provoking conversations to transcend the screen and enter the minds of the audience. While working through his grief, there were times that Shepherd could have gone on an anti-military or anti-American rant, but he never speaks a negative word against anyone, though he is sometimes in immense pain. Patriotism, God, and the human condition are shown and discussed in quite unconventional and maybe even controversial ways; yet, the manner in which these topics are discussed, as it relates to Shepherd’s loss, are absolutely perfect. In a seemingly binary world where you are either a red-blooded patriot or you’re anti-American, with no room for nuance or discussion, this film provides the platform to begin to realize that we are first human before we take sides.

Although I did not care for Linklater’s Boyhood, I can honestly tell you that this film is one that you don’t want to miss. Whether you are in a military family or not, this film offers a glimpse into a world that many people have to face on a daily basis. The genuine, organic approach to the hard topics in this film allows the humanity to shine through. Not speaking for ALL veterans, but the vets that were in the screening last night had high praise for the film. And the rest of us had many positive remarks and feedback for the screener hosts.

“Murder on the Orient Express” (2017) Film Review

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The classic Hollywood style mystery successfully pulls into the station. Grab your ticket from the box office and board the legendary Orient Express with this all-star cast. Kenneth Branagh’s adaptation of the timeless Agatha Christie novel is as bold and elaborate as Hercule Poirot’s famous mustache. Feel as though you are traveling aboard the famous transcontinental train as you attempt to put all the pieces together to solve the mystery right along with “quite possibly the greatest detective in the world.” Hollywood style movie mysteries are nearly a thing of the past, but Branagh stokes the fire in the engine of the once popular genre and conducts an exciting journey through the classic whodunit plot. The film’s namesake is a novel that has inspired so many mystery novelists, and hopefully this film inspires a new generation of filmmakers to create their own movie mysteries fit for the big screen. Because the 1974 version including a cast ranging from Ingrid Bergman to Anthony Perkins to Sean Connery has not stood the test of time as well as it was thought to have done, this cleared the tracks for Branagh’s adaptation of Christie’s most famous novel.

After he successfully solves the mystery of the theft of precious religious artifact from the Wailing Wall area of Jerusalem, Hercule Poirot (Branagh) is beseeched to head back east to solve another mystery. Over the years, Poirot has made many friends, and one of these friends is the son of the railroad tycoon who owns the opulent Orient Express. When a passenger doesn’t show, Poirot is given his seat and boards the transcontinental train bound for western Europe. Although Poirot was promised a rail journey free of crime, a nice break, and to be pampered during his travels, he finds himself solving the most peculiar of mysteries–a most gruesome murder. The victim: an unscrupulous man with many enemies. When a freak avalanche forces the Orient Express to stop on a breathtaking, precarious stretch of track, Poirot finds the time to interview each and every one of the suspects—confined to the twelve first and second-class passengers who might have had access to the victim’s cabin. When each piece of evidence opens one Pandora’s Box after another, and the web of lies and connections between the passengers grows to Poirot’s mustache proportions, Poirot faces a complex mystery that prompts him to call his very approach to crime solving into question.

Nevermind the solution to the tentpole mystery novel is one of the worst-kept secrets in British literature history, Branagh crafts a cinematic mystery full of intrigue, revenge, lies, deceit, and the central murder. The plot revolves around a seemingly perfect crime committed on a railcar with no access to the outside, and only the passengers and crew on board the suspects. But even Poirot is stumped at the who, how, and why. Whether you know the ending or not, this film provides an excellent example of a genre that harkens back to Hollywood’s golden era. There was once a time that mysteries and musicals were a staple of the industry, but times change. Still, Branagh shows audiences that the timelessness of an old fashioned whodunit cannot be overstated. Since the ending of the mystery is known by so many people, Branagh was challenged with providing the audiences with something different, something that creates a new take on a well-known story. He accomplishes this by throwing in some additional subplots, character connections, and evidence that suggests that the solution may turn other otherwise than it does in the novel. The changes he brings to the story are organic and fit in well. The end result is a fantastic film that keeps your attention from beginning to end, even for those who know–or think they know–the solution to the mystery.

From the sweeping landscape shots of the Alps to the wide variety of shots to bring the audience onto the train with the rest of the passengers, the production design is excellent. The attention to the detail and visual elegance of the story are treated with creative precision, just as the Christie plot is woven together. Production designer Jim Clay’s meticulously recreated Orient Express is truly something to behold. Unfortunately, despite Branagh’s decision to shoot on 65mm film, there are times that the train set feels almost too perfect–a little artificial–similar to The Polar Express. Although there are times that the production design is not being showcased to the degree that it should to increasingly immerse the audience into the world of Poirot, there are plenty of beautiful shots that serve as a testament to the opulence of rail travel that once was. Of the few weak areas of this film, the cinematography is the weakest because it could have been used to truly create a visually stunning film and not fall victim to surrealism. Patrick Doyle’s score complements the film by feeling like an extension of the plot itself, in time and space. The combination of big band, jazz, and orchestral music immerses the audience into this world. All the technical elements work effectively to transport you from your seat to a compartment on the legendary train.

Branagh’s screen adaptation of Christie’s characters is brilliantly entertaining and developed well. Each character represents a different type of person, a different walk of life. No two characters are alike, which makes great for interjecting some social commentary into the mystery. From a professor spouting pro-Nazi sentiments to a nurse turned missionary, you will find the characters intriguing in and of themselves, never mind how they may be connected to the victim. Alexandra Byrne’s costumes are perfect appointed extensions of the characters that wear the authentic period clothing. Each costume was designed to be as much a part of the respective character as the accents, hairstyles, and backstories. Josh Gadd proves that we can successfully play a serious role, which will prove to bolster his career, Willem Dafoe is perfect as the professor, Dench portrays the princess in only a way that she could so successfully accomplish, and the rest of the cast are all excellent. Coming in a close second to Branagh’s screen time, as the iconic inspector Poirot, is the beautifully talented Michelle Pfeiffer as the widowed heiress Mrs. Hubbard (Lauren Bacall’s character in the original). She truly showcases her talent for adding depth to the characters she plays in order to make them complex and memorable. The diverse cast of characters is incredible to watch and couldn’t have been deleted better for this highly anticipated film.

Climb aboard The Orient Express for the whodunit that started it all. Branagh’s fresh take on the classic tale would satisfy even the harshest of critics Agatha Christie herself. He treats the source material with the respect it deserve, all the while, adding in new material to craft a new experience for those tho have read the novel and/or seen the original film adaptation of this story. Do yourself a favor and don’t ask anyone whodunit, because you need to experience the solution for yourself. Perhaps you can solve it more quickly than Poirot. Don’t let the train leave the station before you pack your bags and travel back to a time when trains went full-steam ahead into adventure and intrigue.

“Thor Ragnarok” movie review

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Norse mythology meets Gladiator meets 80s vintage video game in this non-stop adrenaline pumping action film. Suffice it to say, everything you’ve heard about Thor Ragnarok from your friends is true. It is an incredibly fun movie that is equally well written and directed. For anyone who follows my blog, it is no secret that I typically do not like the Disney-Marvel films (and for good reason), but the focus of this review is on THIS particular film. I state that because, honestly, I very much enjoyed this film! So, it comes from liking the structure, characters, plot etc. not just from being a fan boy, or lack thereof in this case. Not only an excellent third sequel, but this movie can easily stand on its own. Whether you have watched the other MCU (Marvel Cinematic Universe) films or not, you can rest assured that you can enjoy this superhero movie. With the way the initial trailers were cut, I thought that this was MCU’s way of jumping onto the 80s nostalgia band wagon–not so. Oh, there is definitely an 80s video game vibe about the film, but the focus is on the characters and storytelling, not the nostalgia. There is also a self-aware element of this film. Not to the extent Deadpool is self-aware, but Chris Hemsworth’s Thor has a twinkle about his eye that winks at the audience so that we know that he is aware of the corniness and ridiculousness of the characters and plot. But the magic of this film is just how well balanced the content of the film is. There were many times that the plot lended itself to falling apart, but the solid cast held the film together and provided audiences with one of the best movies in the MCU.

When Thor learns of a dark, hidden family secret, he must confront the deadliest enemy he has ever faced off with in his life. But the legendary hero encounters far more than he ever expected. The mighty Thor finds himself imprisoned on a faraway planet and forced to battle in gladiator-style games. Little does he know that the winningest challenger on the planet is his former ally The Hulk. Thor must survive the deadly gladiator-like battles in order to build his team to defeat Hela, the Asgardian goddess of death who is destroying his home world.

One of the principle themes in this film that enables this one to be more and deeper than other MCU films is just how similar it is to a conventional war picture. There are hints of courts of intrigue as well. The complex plot provides a comprehensive foundation upon which a more superficial story can be developed in order to appeal to wide audiences, with few appreciating the deeper themes and subtext. But it takes more than effective and well-developed writing to build such a solid movie, it takes multi-dimensional characters portrayed by impeccable screen talent. You’ll find all of that in Thor Ragnarok. Although his screen time is brief, Anthony Hopkins’ Odin commands the screen with confidence, wisdom, and sincerity. Few actor’s can take a few minutes of screen time and put more cinematic magic in it than Hopkins. After all, he won his Oscar for Silence of the Lambs for his collectively few minutes on screen. Joining the cast are Jurassic Park’s Jeff Goldblum and the beautiful, talented Cate Blanchette. Goldblum’s Grandmaster of Sakkar is hilarious and brilliant. As you’d expect a Goldblum character in a film like this to be: detached intellectually from that which is seen as conventional, smart-alecky; yet, he is also petty, sadistic, and relentless. Blanchette’s Hela is elegant, sadistic, and intelligent. She is perfectly able to be the comic book-esque villain she needs to be, all while bringing about a pedigreed acting to it.

All the technical elements of the film works excellently together. The most memorable of those elements is the music, for me, followed by the visual effects. I absolutely loved the nod to Willy Wonka and the Chocolate Factory during Thor’s transport to through Sakkar. This works because (1) the scene it shot and edited similarly to the boat scene in the aforementioned movie and (2) Goldblum’s Grandmaster is a Willy Wonka type. Throughout the film, there are 80s video game sound effects and a score that could fit into a nostalgic 8bit video game. However, the nods to Willy Wonka and video games do not overpower the more conventional score. Whereas the visual effects could have gone overboard and made the film play off as a video game, the video game like effects where carefully integrated in order for the film to maintain a high show quality.

The film was initially sold as a funky, colorful, comedic MCU film. And there are times that the film also encroaches upon that animated feel, but it never crosses that line–thankfully. The more serious aspects to the film balance out the slapstick moments. All of this works together to execute perfect pacing and plot/character development. Like with most MCU films, the more adventurous parts of the film are not quite adventurous enough to be an adventure film and there is typically a predictable nature about the film. I find that this film is not as predictable as previous MCU movies, but there is still that experience with this one. There is one particular part to the showdown of the film that prohibits this from falling victim to another cliche MCU ending with an epic battle, bodies flying through the air, and cities on fire, but I cannot reveal that without giving away the ending.

Looking for a fun movie to watch with your friends? Then this is a solid choice. Although the film has its diegetic flaws, the ways it succeeds outweighs the shortcomings. You also do not have to have seen the other Thor movies and really don’t even need to have seen the previous Avengers films, albeit helpful to understand some of the minor plot points. It’s definitely one that has re-watchabbility.