Tag Archives: Steven Speilberg

Never Rarely Sometimes Always

4 Apr

‘Never Rarely Sometimes Always’: Pregnant, finding guys are manipulative jerks, Part II

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With the Covid-19 state of emergency and shutdown of movie theaters, we’re highlighting new streaming options for people stuck in their homes by social distancing.

Eliza Hittman’s short list of films have focused on teens involved in strange sexual relations with adults, be it a girl looking to blossom by hooking up with a ruffian in “It Must be Love” (2013) or a boy in “Beach Rats” (2017) seeking to discover himself by meeting up with older men he encounters online. Hittman’s latest, “Never Rarely Sometimes Always,” is something more subtle, yet equally dark in its exploration. The narrative structure here is lean and simple, buoyed by emotional depth and a pair of outstanding performances.

We meet up with teen Autumn (newcomer Sidney Flanigan), who likes to play guitar and sing and hang out with her cousin, Skylar (Talia Ryder,) in a podunk Pennsylvania burg. After a talent show we learn that tensions are high between Autumn and her stepdad (Ryan Eggold), who seemingly has it out for the eldest in his house, and that Autumn is pregnant and heading into her second term. The identity of the father is never laid out explicitly – there are a few possibilities, such as one boy who heckles her during the talent show, or another who makes a lewd, public sexual comment in a pizza shop; there are other less pleasant (relatively) prospects, as well. Besides her cousin and her clueless but caring mother (musician Sharon Van Etten) there doesn’t seem to be a lot of love for Autumn in the Mid-American strip mall of a town. When she goes to a clinic to confirm she’s pregnant, the practitioner plays a religious right anti-abortion PSA on teen pregnancies.

Autumn’s path takes her to New York City, where a minor doesn’t need parental permission to obtain an abortion. She’s got her cousin in tow and her mother in the dark, and you fear the city will eat them up – they don’t have much money, and the only person they know is a goofball by the name of Jasper (Théodore Pellerin) whom they met on the bus.

The meaning of the film’s wordy title: possible responses to a questionnaire at a clinic that give us insight into Autumn’s past. Hittman’s style here is so on-the-street and in-real-time, the film feels like a documentary, which gives “Never Rarely Sometimes Always“ a gritty, honest edge deepened by chemistry forged between Flanigan and Ryder (who will be in the upcoming Steven Spielberg “West Side Story” production) and their immersion into their respective characters. The unspoken bond of sisterhood and the weight of the world Autumn seems to bear go far behind the topographical anxiety in Bo Burnham’s satirically sharp “Eighth Grade” (2018).

Also this week I reviewed “The Other Lamb,” a curio about a cult of women led by an enigmatic Jesus figure. In that film, a young woman by the name of Selah (Raffey Cassidy) struggles with matters of sexuality and fertility under male-held reins. In countenance, and the intense pondering in her eyes, she’s Autumn’s kindred – trying to comply while trying to break out, fighting for her identify as she blossoms into womanhood.

 

Jurassic World: Fallen Kingdom

28 Jun

 

“Jurassic World: Fallen Kingdom” arrives in theaters this week with plenty of dino-wow, as one might hope, but with a bronto-sized side of mommy issues and some sustainability woes to boot. Which to tackle first? Hopefully you’re up on what went down in “Jurassic World,” the 2015 relaunch of the “Jurassic Park” franchise made so indelibly by Steven Spielberg and Michael Crichton back in the 1990s. Those first three “Parks” dug deep into our imaginations, with their all-too realistic renderings of T-Rex and lethally heeled velociraptors, and they slew at the box office. “World” marked a respectable redux, but “Fallen Kingdom,” gets weighed down with a fossil-heavy backstory and never quite achieves the amusement ride thrill that made its ancestors such scary good fun.

As with all the “Jurassic” flicks, the action begins down in Costa Rica, at the theme park from the last chapter that’s been abandoned and overrun by rampaging dinos. The crisis du jour becomes increasing volcanic activity that threatens to “re-extinct” the “de-extinct” lizards (okay, birds). Congressional debate rages about saving them or not and, blessedly, Jeff Goldblum looms at the epicenter with rapturous logician metababble; then, just like that, the crew from the last “World” – the park overseer (Bryce Dallas Howard) and raptor wrangler (Chris Pratt) – are back as part of a conservation effort to get as many of the dinos as possible off the island and to a “sanctuary.”

The pair go in at the behest of a benevolent billionaire (James Cromwell, in a requisite but wispy role) who partners them with a team of big game hunters that feel a lot like the bunch from the second film, “The Lost World: Jurassic Park,” (1997) and are led by Ted Levine, surprisingly not too far from his Buffalo Bill in “Silence of the Lambs.” There’s a lot of Spielberg DNA to be found in “Fallen Kingdom” – Pratt’s smug, everyman posturing and action sequences feel right out of “Raiders of the Lost Ark,” but just because you clone something doesn’t mean you get exactly what came before. That brings us back to those mommy issues: There’s a precocious little girl by the name of Maisie (Isabella Sermon), who may or may not be the billionaire’s granddaughter, and there’s Blue, the empathetic raptor from the last “World” raised by Pratt’s Owen, who holds the key to controlling the new line of mega-raptors being weaponized for trade and profit. Yes, sadly it all comes down to military-industrial complex shenanigans, avarice and hidden agendas.

Given the one-percenter station of many of the players in the film with their fingers on the stings, I kept asking myself, how much is too much? Why do billionaires need a lousy 20 million for ankylosaurs? The answer to which can only be power and control. The pomp and arrogance through which it’s executed feels far too profound a metaphor for the carnivorous control that’s taking hold across the country these days. Perhaps I’m reading too much into it, but given the big, bloody slab being dangled, one has to bite.

The film’s natural subtext of “don’t mess with Mother Nature” – because payback’s a tooth and claw feng shui session – gets executed with perfunctory perfection at the apt hour. The wrap-up of the film, directed by Spanish director J. A. Bayona, best known for the arthouse horror film “The Orphanage” (2007), becomes its most provocative and resonant moment. Much of what precedes it is dull despite all the thrashing, and it doesn’t help that all the combative-romantic chemistry between Pratt and Howard in the last “World” has seemingly gone the way of the dodo (no, they have not been brought back yet). Overall, “Fallen Kingdom” makes it feel like the series might be done for, even though where we end feels like a launching pad – a place of opportunity, laden with possibility.

Bridge of Spies

16 Oct

James Donovan (Tom Hanks) must go to great lengths to rescue U2 pilot Francis Gary Powers from Soviet Russia

Courtesy of Dreamworks Pictures

James Donovan (Tom Hanks) must go to great lengths to rescue U2 pilot Francis Gary Powers from Soviet Russia

When people think about the body of work Steven Spielberg has put out over his illustriously long and celebrated career, most gravitate towards the fantastical fantasies imbued with childlike wonderment (ET and Close Encounters of the Third Kind) or the satiating swashbuckling adventures (Raiders of the Lost Ark andJurassic Park). Before all that however, Spielberg minted the blockbuster with Jaws and later, with stark, visceral effect, crafted the preeminent cinematic portrait of the Holocaust (Schindler’s List), a film which still resonates as an exposed nerve. Recently, the solemn lessons of history, more so than adolescent curiosity or high adventure, have become the inspiration for Spielberg’s creative vision.

Spielberg’s last history lesson, Lincoln, was a plumbing of a stout character standing tall and resolute in the face of grave opposition and the tenuous society hanging underneath. The director’s latest,Bridge of Spies, follows the same blueprint, but unlike Abraham Lincoln, few have ever heard of James Donovan, an insurance attorney from Brooklyn, N.Y. More relevant from the history-book perspective perhaps is Francis Gary Powers, the U2 pilot shot down over Soviet airspace and taken prisoner in 1960. Continue reading