Golden Globe Musings: Best Actress in a Motion Picture – Drama

Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anything important. A reminder that the Globes are wildly unpredictable and that it is still a bit early to gauge the reception or awards potential of a number of the so-called “contenders” at this point.

Last year’s nominees:
Jennifer Aniston (Cake)
Felicity Jones (The Theory of Everything)
Julianne Moore (Still Alice)
Rosamund Pike (Gone Girl)
Reese Witherspoon (Wild)

The surest thing in this race is Brie Larson (Room), and then we get into category confusion and multiple actresses from just one film. The last time two actresses from the same film were nominated was 2002, when Nicole Kidman and Meryl Streep were both recognized for “The Hours.” Now, Rooney Mara (Carol) and Cate Blanchett (Carol) are both contending, and Blanchett might also be nominated for “Truth.” Earlier in awards season, Julianne Moore (Freeheld) and Ellen Page (Freeheld) looked like good bets, but now it seems they’ve been all but forgotten. Instead, new contenders who have emerged include Saoirse Ronan (Brooklyn), Alicia Vikander (The Danish Girl), who was previously expected to go supporting, and Carey Mulligan (Suffragette). Another revered actress who might show up later in awards season is Charlotte Rampling 45 Years).

Current predictions:
Cate Blanchett (Carol)
Brie Larson (Room)
Rooney Mara (Carol)
Saoirse Ronan (Brooklyn)
Alicia Vikander (The Danish Girl)

Golden Globe Musings: Best Actor in a Motion Picture – Drama

Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anything important. A reminder that the Globes are wildly unpredictable and that it is still a bit early to gauge the reception or awards potential of a number of the so-called “contenders” at this point.

Last year’s nominees:
Steve Carell (Foxcatcher)
Benedict Cumberbatch (The Imitation Game)
Jake Gyllenhaal (Nightcrawler)
David Oyelowo (Selma)
Eddie Redmayne (The Theory of Everything)

Count on one of last year’s nominees to return, and that’s winner Eddie Redmayne (The Danish Girl), who could well triumph again. Michael Fassbender (Steve Jobs) is a lock, as is Leonardo DiCaprio (The Revenant). After that, things are less secure. Johnny Depp (Black Mass) feels like a good bet with this group, while Michael Caine (Youth) might have to wait for the Oscars to be recognized. Tom Hanks (Bridge of Spies) should have no trouble making the cut, and he might be joined by Will Smith (Concussion). Last year’s nominee Jake Gyllenhaal (Southpaw) could show up, as could Samuel L. Jackson (The Hateful Eight). I would have bet on Idris Elba (Beasts of No Nation) as a spoiler here rather than in supporting, but maybe his Independent Spirit Award-nominated costar Abraham Attah (Beasts of No Nation) will show up instead.

Current predictions:
Johnny Depp (Black Mass)
Leonardo DiCaprio (The Revenant)
Michael Fassbender (Steve Jobs)
Tom Hanks (Bridge of Spies)
Eddie Redmayne (The Danish Girl)

Movie with Abe: Carol

Carol
Directed by Todd Haynes
Released November 20, 2015

A stolen glance or lingering look can mean a great deal, and that’s even truer in any kind of storytelling. So many people cross paths on a given day, and they find themselves in certain places for a variety of reasons. Minor moments can lead to something much more, especially if it begins as imagining fantasy. For Therese (Rooney Mara), a shy department store clerk, locking eyes with an alluring older woman, Carol (Cate Blanchett), stirs incredible feelings, leading to a moody romance that, in 1950s New York City, is anything but permissible and socially accepted.

This film takes for its title the name of one of its characters, but Therese is actually the one introduced first (and just as much a lead). The young woman is soft-spoken and only opens up once she knows the people around her. She tends not to offer her opinion much and rarely refuses any offer, using sheepishness and decency as her only defenses in the rare instances that she does stand her ground. Her boyfriend Richard (Jake Lacy) is sweet but looking to move faster, and as evidenced by her immediate connection to Carol, who herself is in the midst of an ugly divorce with her alcoholic husband Harge (Kyle Chandler), she doesn’t know just what she wants.

“Carol” comes from director Todd Haynes, who made the colorful “Far From Heaven,” which also features a forbidden same-sex romance set in a close-minded, utterly unforgiving time. This film resembles that one in many ways, slowing down the courtship and rarely even actualizing it, instead having its performers show the tremendous emotion they feel towards each other before starting to think about whether it could be real. Those expecting to find the unfettered passion of “Blue is the Warmest Color” will be disappointed – this love story feels a lot more like the slow, deliberate pacing of “Brokeback Mountain.”

Mara and Blanchett are two actresses at very different points in their careers, and this film represents an important creative intersection for them. Mara, who earned an Oscar nomination for “The Girl with the Dragon Tattoo,” shows that she can be effective in a romantic setting too, and she makes Therese a buttoned-up girl just waiting to bubble over and become something else. Two-time Oscar winner Blanchett is now the older woman, and she masterfully adopts that role and delivers a typically biting and ferocious take on someone who is tired of watching her life going by without having any say over what happens in it. Haynes’ direction enhances the performances, which are the main reason to see this slow-moving, hypnotic journey that leaves off on a puzzlingly open-ended note.

B+

Saturday Night Movie Recommendations with Abe

Welcome back to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in theatres as well as several films newly released on DVD and Netflix. I invite you to add in your thoughts on any films I haven’t seen in the comments below.

Now Playing in Theatres

Carol (recommended): Cate Blanchett and Rooney Mara both deliver strong, involved performances as a married woman and the younger sales clerk who catches her eye in “Far From Heaven” director Todd Haynes’ colorful forbidden love story set in 1950s New York City. Now playing at Angelika and the Paris Theatre. My review will be up shortly.

Democrats (highly recommended): This documentary is extremely informative and educational, chronicling the creation of a constitution by representatives from opposing political parties in Zimbabwe. The access and honesty is formidable, and this film’s story is pretty incredible to watch. Now playing at Film Forum. Read my review from Tribeca.

Brooklyn (recommended): Christopher Abbott, formerly of “Girls,” delivers a strong performance as the title character, an aimless DJ in New York City who has to contemplate making something of his life after his father dies and his mother gets sick in this involving independent film. Now playing at Landmark Sunshine. Read my review from Sundance.

New to DVD

Nothing to report this week!

Now Available on Instant Streaming

Anna Karenina (recommended): This gorgeous adaptation of the classic literary work comes from Joe Wright, director of “Pride and Prejudice” and “Atonement,” in his third collaboration with Keira Knightley, and bravely and boldly tells a timeless story with a creative approach to set design and a keen eye for costumes and colors.

Call Me Lucky (recommended): This documentary about comedian Barry Crimmins is a fascinating look at one comedian who has always colored outside the lines, with insightful commentary from a number of contemporaries and a surprisingly serious shift into some of his less comedic work.

I’m Still Here (mixed bag): There is something fascinating about director Casey Affleck’s chronicle of his friend Joaquin Phoenix’s highly public descent into madness, but it’s overshadowed by the fact that it all seemed like a publicity stunt and so little of this “documentary” actually feels authentic.

People, Places, Things (highly recommended): Jemaine Clement of “Flight of the Conchords” is a wonderful lead in this terrific comedy featuring a comic book artist father of two trying to get his life on track. The whole cast is great, and this film is a lot of fun.

Movie with Abe: Room

Room
Directed by Lenny Abrahamson
Released October 16, 2015

A film’s primary task is to tell a story, but there is also the opportunity to tell that story in a creative way. How a character perceives the world is central to how they experience its events, and can greatly shape the way that those events are presented. “Room” is told from the perspective of Jack (Jacob Tremblay), a five-year-old boy who has never lived or been outside the confines of the room in which he was born. Seeing the title space and the world through Jack’s eyes is a moving, fascinating experience.

Jack introduces his life by greeting the things within Room, such as a bathtub, a sink, a bed, a closet, and the skylight that serves as the only portal to the outside world. Jack watches TV on a regular basis, but his mother Mia (Brie Larson) has taught him to believe that TV is actually captured from other planets, and they are all that exist. The regular nightly arrival of the unfriendly Old Nick (Sean Bridgers) through a locked door with a code serves as the only hint that something more might exist. Mia has raised her son under impossible circumstances and made careful choices about how to educate him about his circumstances.

“Room” provides an astonishing look at one child’s worldview, something that is transformed considerably when Jack and Mia make their daring escape and are reintroduced to life outside Room. The time spent in Room and the time spent readjusting to the world Jack never knew existed are equally compelling, full of so much light, energy, and extraordinary simplicity, especially as seen through a five-year-old’s eyes. This film, adapted from a novel of the same name, is extremely captivating from start to finish, constantly maintaining a suitable pace fitting for the progression of its events.

The performances in “Room” are simply incredible, and it won’t be a surprise if they end up being serious Oscar contenders when awards season kicks into high gear. Larson, who has starred in a few major films and impressed already, is tremendous as Mia, who gives so much of herself to make Jack’s life a pleasant one, and watching her come to the brink of insanity and losing her composure is marvelously watchable. Tremblay is a true revelation, delivering an incredibly mature performance that makes Jack an unforgettable protagonist in this powerful, memorable film.

B+

Movie with Abe: The Walk

The Walk
Directed by Robert Zemeckis
Released September 30, 2015

Performance as an art can mean many things. The most visible professions in the world require a degree of performance, some quite literally, with actors pretending to be other people on a stage or in front of a camera. And then there is a more specific art, one that involves pulling off a daring, visually impressive feat, one that requires courage, preparation, and the utmost concentration. Of the many theatric events that have been performed throughout history, a man walking on a tightrope between the Twin Towers of the World Trade Center ranks quite high in more than one sense.

“The Walk” presents its astounding tale by having its jolly protagonist, Philippe Petit (Joseph Gordon-Levitt), stand against a backdrop of the Statue of Liberty and the Twin Towers and narrate his entire story. From his early days as an eager performer whose family didn’t support his dreams, Petit is overwhelmed by a desire to do what others tell him can’t be done. The helpful mentorship of a respected and seasoned circus performer, Papa Rudy (Ben Kingsley), enables him to pursue that which he desires, which begins with a move to the big city of Paris and then a chance glimpse of the Twin Towers, slated for completion in 1973, which puts his life on only one course: to be able to hang his wire and walk between the two tallest buildings in the world.

“The Walk” is based on an excellent Oscar-winning 2008 documentary, “Man on Wire,” in which the real Petit has the opportunity to convey his true nature, an obsessive craziness centered on outdoing expectations and the excitement of the unexpected. Portraying a man like that is no small task, and Gordon-Levitt, who has played a wide range of roles over the past few years, is a capable performer who rises to the occasion. The film wisely chooses not to make the film a fully serious rendition, but instead takes a more lighthearted approach to paint Petit as a jovial reader of his own grand narrative.

The film is full of comedy, particularly when it comes to Petit’s merry band of accomplices. Clément Sibony, César Domboy, Steve Valentine, James Badge Dale, Ben Schwartz, and Benedict Samuel make up the diverse cast of characters who serve as important contributors to Petit’s daring and illegal feat. Most charming of all is the lovely Charlotte Le Bon as Annie, who starts out as a rival street performer but quickly becomes Petit’s number one advocate. The film is fun and entertaining throughout, and it becomes simply exhilarating for the entirety of the time that Petit spends far above the ground at the top of the towers. The visual effects are extraordinary, recreating a place that we all know no longer exists. This film, which was dedicated to those who died on September 11th, is an enthralling and wonderful ode to two magnificent buildings and one man who could only see a place to hang his wire.

B+

Movie with Abe: Spotlight

Spotlight
Directed by Tom McCarthy
Released November 6, 2015

The news industry has changed so much over the last two decades, and there may be no more effective way to demonstrate that than to show how a story was researched and reported as recently as 2002. The mere existence of a newspaper team tasked with culling together months of background, interviews, and confirmations feels like an impossible dream in today’s age of citizen journalism and instant online verification. Cell phones and the Internet already exist in “Spotlight,” but they don’t rule the old-fashioned news investigation that comprises one of the most well put-together and invigorating cinematic stories of journalism in a long time.

The Boston Globe is a hometown newspaper with an overwhelming Catholic subscriber base and season tickets for its staff members to Red Sox games, among other local ties. The arrival of an outsider editor, Marty Baron (Liev Schreiber), prompts a new focus for the four-person Spotlight team tasked with thorough projects, one of which might last months or a year: Catholic priests who have repeatedly abused children and whose actions have prompted no legitimate response from the Church and who have even been placed back into circulation after their unforgivable misdeeds. This investigation is a deep and intense one, with so many confirmations along the way that it seems impossible that it has not come to light sooner.

One of the best facets of “Spotlight” is the way in which it delivers damning and shocking information that comes as a surprise to its reporters. Much of it has to do with the reactions of the dogged journalists, but there is also an appropriately sensational presentation that amplifies the effect of these bombshells. Robby Robinson (Michael Keaton), Mike Rezendes (Mark Ruffalo), Sacha Pfeiffer (Rachel McAdams), and Matt Carroll (Brian d’Arcy James) all believe strongly in the impact of what they are doing, and they want to bring the truth to light, no matter the cost to Boston institutions or the way in which they might be personally villainized. Nothing is overstated, and a haunting score from Howard Shore just does the trick in properly emphasizing the significance of what they are doing.

This is a film where all elements are firing on all cylinders. McCarthy, who previously directed “The Station Agent” and “Win Win,” does an excellent job of managing a large cast and allowing each member to play into the story in just the right way. Stanley Tucci, Billy Crudup, John Slattery, and Jamey Sheridan are particularly strong contributors in addition to the starring five previously mentioned. This is an extremely solid film driven by true events and told in just the right way, building to an emotional and superbly effective finale that only extends its impact.

A-

Movie with Abe: Theeb

Theeb
Directed by Naji Abu Nowar
Released November 6, 2015

The Middle East is a complicated place, and today’s conflicts have reached a particularly volatile height. The region has a storied history, one populated with just as much internal and external strife as currently exists today. “Theeb” sets its events in 1916 in an Ottoman Empire province while World War I is at its height and bandits and mercenaries are even more dangerous than enemy forces. A young Bedouin boy with a great knowledge of the desert is at the center of this isolating, harrowing journey that endows him with infinite life experience in a short period of time.

Theeb (Jacir Eid Al-Hwietat), which translates to “wolf,” is the younger brother of Hussein (Hussein Salameh Al-Sweilhiyeen), and both are members of a Bedouin community with an uncanny familiarity with their surroundings, which to any visitor might seem simply like endless desert. A British officer arrives and requests to be guided through the desert by Hussein, and, naturally, Theeb cannot resist tagging along, staying back from the group as he follows the officer towards his unknown destination. Disaster quickly strikes as repeated warnings about the danger of where they are going are confirmed by the presence of vicious attacking raiders, and Theeb must do what he can to survive that and subsequent encounters.

“Theeb” takes tremendous advantages of its vast and indiscernible surroundings to amplify the effect of the trek its protagonist takes, as daylight brings an enormity of caves, cliffs, and indistinguishable directions, and nightfall brings a sense of truly being lost as there is nothing at all that can be seen without lights. Before the group begins its trip, talk is heard of the train interrupting the simple lifestyle of the place, and this story is very much a timeless one, dismissing technology as irrelevant as it applies to anything but guns, the one modern development seen in the film.

“Theeb” is described on IMBD as belonging to the adventure, drama, and thriller genres. While the first recalls something like Indiana Jones, a comparison worthwhile because of the setting, costumes, and British influence, this hardly contains the same excitement and intrigue. Not much happens over the course of the film, which is, of course, the point, as Theeb cannot speed through the rough path that he must take towards survival with all odds against him. Ultimately, Jordan’s Oscar entry for Best Foreign Film starts out on an intriguing note with a strong resolve but never manages to be as gripping or involving as it wants to be.

B-

Saturday Night Movie Recommendations with Abe

Welcome back to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in theatres as well as several films newly released on DVD and Netflix. I invite you to add in your thoughts on any films I haven’t seen in the comments below.

Now Playing in Theatres

Brooklyn (recommended): The dependable Saiorse Ronan shines in this gorgeous, sweeping tale of coming to America, a story that feels vibrant and fresh despite its familiar premise. Now playing at AMC Lincoln Square, Regal Union Square, and City Cinemas 123. Read my review from Sundance.

Sand Dollars (recommended): Geraldine Chaplin carries her weight in this intriguing and moderately involving tale of a young Dominican woman living two lives in the Dominican Republic's official Oscar submission for this year. Now playing at Cinema Village. Read my review from yesterday.

Spotlight (highly recommended): Michael Keaton leads a large and strong ensemble cast in this extremely well-crafted and interesting dramatization of the Boston Globe's long-term probe into the abuses of the Catholic Church in a surefire Best Picture Oscar nominee. Now playing at AMC Lincoln Square and Regal Union Square. My review will be up on Monday.

Theeb (mixed bag): Jordan’s official Oscar submission is a film that makes the most of its desert setting for its story of impossible endurance and survival in the Ottoman Empire in the 1916, but isn’t quite as excellent as most seem to find it. Now playing at Lincoln Plaza. My review will be up tomorrow.

Trumbo (recommended): Bryan Cranston is the standout as the outlandish proudly Communist-affiliated screenwriter Dalton Trumbo in this colorful and enlightening story of Hollywood in a strange and censored time. Now playing at AMC Lincoln Square and AMC Village. Read my review from Wednesday.

New to DVD

Best of Enemies (highly recommended): This extremely engaging documentary chronicles the rivalry between Gore Vidal and William F. Buckley, Jr., intellectual pundits from complete opposite ends of the spectrum, who, after both have died, have their relationship analyzed for all to see, an effective and informative look at what happened when opposing opinions were presented in the same space rather than on different networks.

The End of the Tour (recommended): This recreation of the time shared by an eager journalist and one of the most prolific authors in recent history who died far too soon is an interesting and immensely watchable portrait of two people with sharp, memorable dialogue. Jason Segel does a great take on David Foster Wallace in this appealing if unresounding film.

Inside Out (highly recommended): I still haven’t written a review, but rest assured that this animated film is a real winner, an endlessly entertaining and equally clever externalization of emotions that I somehow neglected to review when I saw it. Amy Poehler and Phyllis Smith are just two of the many great voice actors to help animate this lovely story about the emotions at work within the brain of a young girl struggling to adapt to a difficult move.

Now Available on Instant Streaming.

August: Osage County (mixed bag): This adaptation of the popular play features an astounding cast, led by Meryl Streep and Julia Roberts, but it’s not nearly as satisfying or even as it should be. Margo Martindale is the standout player, and it’s the subtler background performances in this loud film that make it most worthwhile.

Five Star (recommended): This 2014 Tribeca entry is a matter-of-fact look at two men, one following a stint in jail and the other just starting to get into criminal enterprises. The performances are strong and the film is involving if not too memorable.

The Gunman (anti-recommended): This film may feel a lot like “Taken,” and while the two share a director, this mindless action blockbuster doesn’t have nearly the brains of that already questionable prototype. Sean Penn is at his least enthusiastic in this truly absurd flick.

She’s Lost Control (recommended): Brooke Bloom is a true breakout as a sex surrogate in this intimate and affecting drama that serves as a reliable and involving independent film.

Movie with Abe: Sand Dollars

Sand Dollars
Directed by Israel Cárdenas and Laura Amelia Guzmán
Released November 6, 2015

Sometimes, a film’s setting speaks louder than its events. The Dominican Republic’s official submission for Best Foreign Film at this year’s Oscars uses the backdrop of its country to paint an idyllic picture of romance and passion in a nation where there is an overwhelming disparity of wealth between the native population and foreigners who visit or choose to make it their home. “Sand Dollars” explores the dual lives lived by Noeli (Yanet Mojica), a young Dominican woman who splits her time pulling scams with her boyfriend and playing into the desires of Anne (Geraldine Chaplin), an older French woman, representing the two poles of experience in everyday Dominican life.

Noeli has an undeniable charm to her, capable of being gritty and down-to-earth with the boyfriend who shares her upbringing and outlook on life, and equally able to present a more airy, alluring façade that enchants the older woman with whom she spends a good portion of her days. Her boyfriend sees her as a partner-in-crime and someone relatively equal to him, and Anne has fallen hopelessly head over heels for her, much in the way a professor might fall for his or her student, well aware of the difference in what they have seen in their lives yet blinded by the exuberance of lust.

There is much to be said about class and social tiers in this film, which tells a specific narrative but also manages to get across a grander point about who people are in different contexts. Noeli tells her boyfriend, who she introduces to Anne as her brother, that she is merely playing Anne, doing whatever she requests so that she can best take advantage of the generosity and affection heaped upon her, which includes the promise of a trip abroad. But there is something about the relationship and the way they interact as conveyed by Mojica that suggests that there may in fact be more between them, and though Anne is definitely more into Noeli, she does reciprocate her feelings to a degree and gain a great deal of comfort from their romance.

Casting Chaplin, an established actress who over the last fifty years has proven herself to be a talent worthy of her last name, with roles from “Nashville” to “Talk to Her” across many languages and countries, with novice actress Mojica gives the film a sense of authenticity and ownership over the story it wants to tell. Both actresses are very capable and do a tremendous job of transmitting the passion they are experiencing, even though they both come from different worlds and approaches to what it is in which they are engaging. The film doesn’t end on a definitive note, preserving its dreamlike feel in a way that makes its events linger but appear as if they may have been just as fleeting and forgettable as Noeli constantly claimed.

B

Movie with Abe: Trumbo

Trumbo
Directed by Jay Roach
Released November 6, 2015

Writers in any medium have an interesting and important job: to tell a story. Often, writers draw from their own life experiences to craft a compelling narrative and create a piece of fiction very much based on true events and actual people. In the case of Dalton Trumbo, a famed Hollywood screenwriter in the 1940s, his works were excellent, but not nearly as fascinating as his own life, something which had nothing to do with the content of the screenplays he wrote. In “Trumbo,” the writer is entirely the story.

Trumbo (Bryan Cranston) is an animated, charismatic facet of the film industry in 1947, a popular figure with one particularly outspoken trait: he is a proud member of the Communist party. He stands in stark contrast to such Hollywood heavies as actor John Wayne (David James Elliott) and gossip columnist Hedda Hopper (Helen Mirren), but finds himself in good company with a handful of other players, including actor Edward G. Robinson (Michael Stuhlbarg) and screenwriters Arlen Hird (Louis C.K.) and Ian McLellan Hunter (Alan Tudyk). When the time comes to discredit Communists and force them to name names and be blacklisted, Trumbo is unapologetic, and finds his life transformed in an irreversibly negative way.

What happens after Trumbo serves his time in prison for refusing to name names is when this film truly comes alive. Unimpressed with the way that his industry has handled things, Trumbo begins ghostwriting terrible films and even enlisting a number of his blacklisted colleagues to do the same. Inevitably, Trumbo even gets to write a few top-notch scripts which make their way to award wins for which other people must take credit. The way that Trumbo gets, in a way, back on top, makes this film feel like “Argo,” which also featured Cranston and John Goodman, who here plays the executive churning out dreck, in that it features a preposterous plan to deceive many that couldn’t possibly work but did.

The film has a distinctly lighthearted feel despite a subject matter that did adversely affect a large number of people and families. That seems to be the best way to tackle it, and it serves as a fun and engaging manner in which to share Trumbo’s undeniably interesting story. Cranston inhabits the role of Trumbo with gusto and energy, ably supported by the likes of Mirren, Tudyk, and Goodman in their period parts. C.K., on the other hand, sticks out considerably, one of the few things about the film that dents its pristine appearance. The film has its moments of grandeur and spectacle, and ultimately serves as an enlightening and entertaining exposé about one of Hollywood’s nuttiest times.

B

Movie with Abe: Bridge of Spies

Bridge of Spies
Directed by Steven Spielberg
Released October 16, 2015

The Cold War was an interesting time for the parties involved since it was defined by a constant state of uneasiness and covert operations, with few military engagements and visible confrontations occurring. That extended time period presents a world of storytelling possibilities. Director Steven Spielberg, no stranger to historical films and ones set during wartime, reunites with his “Saving Private Ryan” star Tom Hanks to put on screen the true story of James Donovan, an American lawyer tasked with providing a defense for an accused Russian spy, who defied the spirit of his era by giving it his all and risking even more to save American lives.

This drama begins with the arrest of Rudolf Abel (Mark Rylance), who is suspected of being a Russian spy. Donovan, a charismatic lawyer, agrees to take on his case, and it quickly becomes clear that it is all a show to make his conviction legally acceptable. Donovan pushes to argue against the automatic presumption of guilt, but learns that he may have better luck keeping his client alive so that, if Americans are taken prisoner by the Soviet Union, the United States has something to trade. When that inevitably happens, it’s hardly a shock that Donovan is the one called upon to act as the negotiator between two parties who can’t officially acknowledge the existence of any situation.

There is a surprising amount of humor infused into this otherwise dark and dreary tale, and most of it comes from Hanks. Donovan cracks plenty of jokes, some about how he will be the second most-hated man in America for defending number one and others about the state of affairs in Germany, which, on the eve of the building of the Berlin Wall, is the unstable site for negotiations between the United States and the Soviet Union. That lightheartedness sometimes feels inappropriate, though it often also helps to invigorate a story that, while interesting, is far from thrilling. There is little action and few thrills to be found in a film that, while marketed as a thriller, is merely a dramatic period piece. Hanks and Rylance are right for their parts, and strengthen a decent film that isn’t Spielberg’s best. It captures the feeling of the times and remains engaging for the majority of its 141-minute runtime, but lacks a certain excitement and powerful impact that other films from the venerable director have mastered.

B

Tuesday’s Top Trailer: Star Wars: Episode VII – The Force Awakens

Welcome back to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

Star Wars: Episode VII – The Force Awakens – Opening December 18, 2015

When I watched the new official trailer for the seventh installment of one of the most popular film franchises, it occurred to me that I had probably already written about the first trailer released a few months before. I have no qualms about revisiting what may well be one of the most anticipated films of all time. I’ve noted before that I actually liked the first two prequels, and so I expect that I’ll enjoy this one plenty. What this trailer shows, more than anything, is that this is not a departure from the fantastically dated style of the original films, valuing the old-fashioned look of the pilot uniforms and backdrops over the more futuristic technological colors and styles of the prequels. There’s something about seeing a TIE fighter and the Millennium Falcon that just conjures up so much excitement. I was concerned that this film would feel like too much of a throwback to the original movies, emphasizing cameos over actual plot, but it doesn’t look like that’s the case. Hearing that the Jedi are but legends and that everything we know to be true is a story from the past makes it infinitely more interesting, and therefore the return of Han, Leia, Luke, and all of them will be crucial and celebrated as Darth Vader’s apparent successor decides to wage war on all that’s left of them. It’s crazy to me that tickets are already on sale when the film won’t be out for nearly two months – I guess I should get mine soon! This film is going to be a truly invigorating experience, even if it ends up being disappointing.

Saturday Night Movie Recommendations with Abe

Welcome back to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in theatres as well as several films newly released on DVD and Netflix. I invite you to add in your thoughts on any films I haven’t seen in the comments below.

Now Playing in Theatres

Asthma (mixed bag): This story of a directionless drug addict who takes a ride with a tattoo artist in a stolen car starts from an intriguing vantage point but doesn’t head anywhere terribly interesting. Krysten Ritter is always a reason to see a movie, but this isn’t anywhere near her best work. Now playing at IFC Center. Read my review from Wednesday.

Difret (recommended): This Ethiopian film about a fourteen-year-old girl ostracized and put on trial for killing a man when he and others were trying to abduct her as part of societal tradition is a powerful and effective story with an important message and strong performances from its actors. Now playing at Lincoln Plaza. Read my review from Sundance 2014.

I Smile Back (mixed bag): Sarah Silverman gets serious in this film about a wife and mother whose life is defined by her addictions. Silverman’s performance is good but the film never achieves a sense of itself, aimlessly following Silverman’s character on her downward spiral. Now playing at the Angelika. Read my review from Thursday.

Nasty Baby (mixed bag): This is inarguably one of the weirder movies I’ve seen recently, but it actually starts off pretty well, with Kristen Wiig and director Sebastian Silva delivering engaging semi-serious performances, but a turn midway through the film prevents it from staying coherent and interesting. Now playing at IFC Center. Read my review from Sundance.

Suffragette (recommended): Carey Mulligan stars as an early 1900s British woman who gradually becomes an active and outspoken member of the suffragette movement in the United Kingdom. The story is an inspiring one, but the film doesn’t always capture the energy and feeling of the work being done. Now playing at AMC Lincoln Square and Landmark Sunshine. Read my review from yesterday.

New to DVD

Z for Zachariah (recommended): Margot Robbie, Chiwetel Ejiofor, and Chris Pine are all terrific in this decent depiction of a post-apocalyptic world that doesn’t involve zombies, mutants, or anything of the sort.

Movie with Abe: Suffragette

Suffragette
Directed by Sarah Gavron
Released October 23, 2015

History is full of struggles for equal rights just waiting to be made into movies. In recent years, issues of gay marriage and the legal claims of partners rather than spouses have been front and center, and race, class, and gender have always existed. “Suffragette” hones in on a time a century ago in the United Kingdom where the fight for women’s rights to vote was just heating up. This dramatic tale chronicles an unsettling and inspiring chapter from that fight, picking a few prominent suffragettes as its protagonists to tell a greater and overarching story.

Maud Watts (Carey Mulligan) is introduced as a mild-mannered twenty-four-year-old mother and wife who has worked in the same factory for half of her life. An innocent evening trip home results in her being present when suffragettes throw rocks at storefront windows in protest, frightening Maud but also piquing her curiosity. Before long, the sheepish young woman who has never spoken up for anything in her life becomes a dedicated member of the movement, alienating her embarrassed husband (Ben Wishaw) and nearly losing her son in the process, all the while catching the discerning eye of a police inspector, Steed (Brendan Gleeson), who has made it his mission to quell the disruptive female forces trying to win a voice.

There is no doubt that this struggle was a compelling one, and though women were granted the right to vote shortly after the events of this film in the United Kingdom, there are still major inequalities that exist in all countries related to gender. As such, this film, though its events take place about a hundred years ago, does feel relevant in its themes and content. Yet there is something missing that makes the film less effective overall, namely its focus on Maud and several surrounding events that might be representative of the suffragette movement but don’t seem to paint a complete picture.

This cast includes more than a few familiar faces, with the typically terrific Mulligan at its head. Here, she is soft-spoken and reserved, internalizing her emotions and then opening up as she begins to adopt the cause. While she has generated considerable Oscar buzz, this is not her sharpest or most evocative performance. Wishaw, Gleeson, Anne-Marie Duff, and Romola Garai do fine in the supporting cast, but it’s Helena Bonham Carter who stands out most as a spirited leader of the movement. Meryl Streep also makes the very most of her brief role as the famed head of the movement, Mrs. Pankhurst. This ensemble contributes to a perfectly decent film that stirs up the right kind of emotion but fails to fully deliver on them.

B

Movie with Abe: I Smile Back

I Smile Back
Directed by Adam Salky
Released October 23, 2015

Comedians getting serious is often momentous enough in itself that little else is required to pique audience interest in a film. Sarah Silverman is an actress and writer well-known for her wit and comedic nature. Recently, she has forayed slightly into more dramatic territory with a recurring arc on “Masters of Sex,” but almost anyone would first associate her with her comedy background. In “I Smile Back,” she expands on a role that she tried in “Take This Waltz,” starring as Laney, a mother of two whose daily life and ability to function is severely hindered by her very serious and uncontrollable drug addiction.

Red flags are raised early in “I Smile Back,” as Laney’s husband Bruce (Josh Charles) talks to his children about the merits of a good meal before running outside to play basketball with them while Laney sits at the table eating nothing but a lollipop. One of Laney’s favorite vices is drinking wine with a hint of something stronger mixed in, and she also frequently snorts cocaine in her hallway bathroom in the middle of family events. Her failure to keep up on e-mails and other communications results in her being the only parent not allowed in to school one morning when admission policies change, and her bad judgment has also led to an ongoing affair with her best friend’s husband (Thomas Sadoski). Bruce is well aware that Laney is not doing well, but every time he notices and points something out, it only drives Laney further away.

There are certainly echoes of her humorous tendencies that show up in Silverman’s performance as Laney, but it’s inarguably a dark turn that enables her to channel a vicious underside of addiction. Casting Silverman in this role is a bold choice but a relatively effective one, especially as she acts opposite Charles, who is usually likeable and dependable, which only contributes to her sense of self-worth as he swoops in to be the more responsible parent. The film begins from an interesting vantage point and stays there, but it doesn’t always feel genuine. Some of its drama is moving and involving, while other moments feel less poignant. Where the film leaves off also leaves much to be desired, presenting several chapters of a story which feels distinctly unfinished, which may well be the point but also doesn’t prove to be fittingly satisfactory.

B-

Movie with Abe: Asthma

Asthma
Directed by Jake Hoffman
Released October 23, 2015

Movies are often framed by the way in which their protagonists experience the world. If they do not perceive their interactions with others as worthy of their time and they walk through life in a constant haze created by some combination of drugs and medication, their cinematic story may reflect that worldview. In “Asthma,” which follows a heroin addict named Gus (Benedict Samuel) who steals a car in New York City and brings a tattoo artist (Krysten Ritter) along for the ride, the universe seems contained to that which is affecting Gus and the wild journey on which he is on.

Neither Gus nor his traveling companion, Ruby, are particularly motivated people. In the beginning of the film, Gus opts to cut a painting job short and try to kill himself, an attempt that does not succeed and prompts him instead to find a nice classic car on the street and start driving it around aimlessly. A chance meeting with the alluring Ruby and a blunt pickup line seem at first like they won’t lead anywhere, but when he runs into her on the street in his car the next day, a short and painless train ride to a client in Connecticut turns into a much longer journey thanks to a car wreck, lost service, and a sizeable walk that might not be as daunting for two more effort-inclined people.

The moments at which “Asthma” is most effective are when Gus and Ruby are alone together, entranced in their own world in a seemingly endless drive to New England from Manhattan. The film’s brief runtime – ninety minutes – is augmented by the focus put on that drive and on the solitary moments that Gus and Ruby share together. When they are around other people, Ruby turns into much more of a social butterfly while Gus retreats within himself and shuts off the world. Spending time with a bunch of hippies in rural Connecticut feels like it should be just the place for them, but it turns out that the vibe just can’t jive with Gus’ directionless nature.

Samuel has a certain look to him that makes him the perfect fit to play Gus, and the attitude he brings along with him works well too. Ritter is always immensely appealing thanks to the signature energy she brings to the roles she takes on, and while she is dependably good, this is far from her most formidable or impressive part. This film, like its characters, starts off on an interesting journey, but it doesn’t take them anywhere too startling or memorable. The fleeting nature of their escape contains much meaning but doesn’t translate to a fully rounded film.

C+

Tuesday’s Top Trailer: Hail, Caesar!

Welcome back to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

Hail, Caesar! – Opening February 5, 2016

It’s always strange to me to see a movie premiering after Oscar season advertised this early, but I think that’s just because of how much time I invest in Oscar predictions around this time of year. February has always struck me as a strange time for release, but that’s the same timing as the last George Clooney film I saw, “The Monuments Men.” This is the latest film from the Coen brothers, a fact that is hardly surprising even just a few seconds into the trailer. Their two most recent films – “Inside Llewyn Davis” and “True Grit” – have skewed a bit more serious, and their newest project looks a lot more like “Burn After Reading” or “Intolerable Cruelty,” an absurdist comedy with more than a bit of energy and enthusiasm to go around. The cast, as usual, is stacked high, with some familiar faces such as Clooney, Frances McDormand, Tilda Swinton, and Josh Brolin, and with an eclectic and diverse list to add that, including Ralph Fiennes, Scarlett Johansson, Channing Tatum, and Jonah Hill. Its 1950s Hollywood setting looks like a lot of fun, and if there was a directing duo I’d trust to make this an adventure to remember, it’s the Coen brothers. The movie-within-a-movie looks entertaining enough, and I think that, while this could be wildly out of control, it could also be a biting indictment of the ridiculousness of old-fashioned Hollywood. Either way, it’s sure to be an experience, one that the desolate landscape of new releases in February could definitely use.

Movie with Abe: The Martian

The Martian
Directed by Ridley Scott
Released October 2, 2015

Space travel has come a long way since the advent of film, sending many men and women into space and on expeditions of varying lengths. One trope of film hasn’t changed, and that’s the notion that something will always inevitably go wrong. Director Ridley Scott is especially familiar with this premise, helming the classic “Alien” in 1979 and then returning to the same idea of “In space, no one can hear you scream” with the thrilling “Prometheus” in 2012. Scott is back in space again, but this time with a distinctly different story that starts from a similar place of panic but takes an altogether lighter and more entertaining direction.

“The Martian” begins on a comedic note, with astronauts on Mars’ surface joking around, but the mood quickly turns as a violent storm approaches, causing Commander Lewis (Jessica Chastain) to abort the mission over the objections of botanist Mark Watney (Matt Damon), who believes it is still viable. During the evacuation, Mark is hit by a flying piece of shrapnel and all communication with him is lost. Presuming him dead, the crew leaves the planet surface, and it is only some weeks later that NASA realizes that there is still someone very much alive and at work trying to stay that way on Earth’s neighbor.

Rather than present Mark’s situation as impossibly grim, “The Martian,” with its clever and fitting name, shows Mark as the ultimate survivor, someone who makes himself laugh as he is recording video logs that may never be seen by anyone, congratulating himself on his excellent ideas and brilliance. Unlike “Gravity,” this is not a story of a man completely isolated, since limited contact between Mark and NASA enables him to know that someone else is aware of his existence and trying to coach him through it. Naturally, the film succeeds best when Mark is on his own since it is incredible to see just how he deals with adversity, embracing humor all the time, even when moments of crisis and certain doom are just around the corner.

Damon carries this film with his energy and spirit, infusing Mark with a relentless ability to entertain himself and actually make smart decisions that help to save his life at the same time. A supporting ensemble playing those at NASA and on Mark’s crew, led by Chiwetel Ejiofor, Jeff Daniels, and Jessica Chastain, contributes dutifully to the overall experience of the film, cheering Mark on as he works towards an impossible survival. The landscape of Mars proves very effective as well, and this slightly sci-fi story of triumph is a resounding and thoroughly enjoyable success that highly recommends cinematic space travel for years to come.

B+

Saturday Night Movie Recommendations with Abe

Welcome back to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in theatres as well as several films newly released on DVD and Netflix. I invite you to add in your thoughts on any films I haven’t seen in the comments below.

Now Playing in Theatres

Experimenter (mixed bag): Peter Sarsgaard stars as a social psychologist who did research to test how ordinary people would respond when told to inflict pain on someone else they did know. The film’s fanciful style doesn’t quite match its content, and this experiment is only moderately effective as a result. Now playing at Regal Union Square, Lincoln Plaza, and City Cinemas 123. Read my review from Sundance.

Truth (recommended): Cate Blanchett stars as 60 Minutes producer Mary Mapes opposite Robert Redford’s Dan Rather in this decently interesting but not entirely satisfying recounting of a doomed story about George W. Bush’s military service that didn’t turn out to be as reliable as it initially seemed. Now playing at Landmark Sunshine. Read my review from yesterday.

New to DVD

Call Me Lucky (recommended): This documentary about comedian Barry Crimmins is a fascinating look at one comedian who has always colored outside the lines, with insightful commentary from a number of contemporaries and a surprisingly serious shift into some of his less comedic work.