There is a list of claims that Holocaust deniers typically adhere to in their statements: 1) that the killing was not systematic, 2) that the numbers were exaggerated, 3) that Auschwitz was not built for extermination, and 4) that the Holocaust was there for a myth -- so that Jews could receive pity or funding because of it.
Historian Deborah Lipstadt scoffs at all these claims. In Mick Jackson's latest film, DENIAL, based off of Lipstadt's book, "My Day in Court with a Holocaust Denier", Lipstadt (played by Rachel Weisz) does exactly what the title reflects: known for refusing to debate those who deny the Holocaust actually happened ("I won't debate fact," she says), she finally finds an exception in John Irving (Timothy Spall), a denier and Hitler enthusiast who sues Lipstadt for libel, saying that she is part of a worldwide conspiracy to rob him of his reputation.
Lipstadt turns to Anthony Julius (Andrew Scott) -- a litigator known for working with Princess Diana on her divorce case -- who quickly puts together a legal team to take the case, led by Richard Rampton (Tom Wilkinson). But Julius and Rampton want to do things a little differently than how Lipstadt expects: they don't want to call any Holocaust survivors to the stand as witnesses, instead deciding to veer the case away from proving the Holocaust's viability and focusing the trial on Irving's credibility -- prove that he got facts wrong intentionally, they say, and the case is won.
The juxtaposition of Julius and Rampton's cold, calculated litigation and Lipstadt's fiesty, outgoing personality is startling at first, but provides a nice contrast in a story that borrows its structure from films like last year's SPOTLIGHT: the team deals with nothing but the facts, yet the social implications are still powerful. Weisz adds the zest needed to make DENIAL stand apart, though perhaps the fast-moving pace of the story prevent her from that next level of memorability in this particular role. There are, however, some powerful scenes, particularly the one in which the team visits Auschwitz, taking one of the few still, slower-paced moments in the film to reflect and remember.
This is an interesting watch! DENIAL is now playing at Midtown Cinema.
Sunday, October 23, 2016
Saturday, October 15, 2016
Review: Queen of Katwe
"In chess, the small one can become the big one."
Disney has always gravitated towards the story of the underdog: climbing up from the depths of adversity, and proving to the world that they are worth something. And Mira Nair's QUEEN OF KATWE holds true to this theme -- telling the true story of Phiona Mutesi (played by Marina Nalwanga), a young girl who rises from the slums of Uganda to become a chess master, this story has inspiration steeped in its bones. But it's got more up its sleeve than warm and fuzzy feelings... it actually lets Western civilization get a glimpse of the social landscape of Uganda through a lens other than its own.
Phiona lives with her mother, Nakku Harriet (Lupita Nyong'o) and brothers in Katwe, a slum on the outskirts of Kampala, trying to make ends meet by selling maize on the street. One day, her brother Brian (Martin Kabanza) shirks his duties to play with some kids at a local chess club in the neighborhood, and Phiona follows him. Despite the other children's insistence that Phiona stinks, she begins to learn the game, cleaning herself up and stubbornly sticking to it; and pretty soon, she's beating the regulars, and pulling tricks out from her head that the club's coach, Mr. Katende (David Oyelowo), has only seen in books.
The rest of the story details the discipline and excitement that Phiona experiences as the kids enter tournaments -- Benjamin (Ethan Nazario Lubega) and Ivan (Ronald Ssemeganda) follow Phiona further and further into competitions -- and the struggle that her family has in keeping their heads financially afloat. Each and every character adds their own nuance of life into the story, whether it is a lesson in humility, commitment, or confidence.
The film shows with such sharp clarity what life is like for young Phiona: vendors sticking their products into car windows to make a sale; men driving their boda-bodas (motorcycles); carrying the brightly colored plastic jugs to collect water; the treasure of a song being sung during dinner. Even the opening logo has that reggaeton music playing in the background. You will hear words like "sebo" and "nyabo" ("sir" and "madame" respectively), and delight in the mannerisms that are so prevalent in Uganda. While there are some moments throughout the film that give a slight overdose of melodrama, the atmosphere rings true: this film will transport you.
Nyong'o and Oyelowo, of course, give esteemed performances, but credit must be showered on the new talent in this ensemble: Nalwanga and the rest of the chess club are phenomenal. And the well-chosen cast is just a part of what makes this film stand out from all the other feel-good Disney movies of the past. While the "underdog" stories have always thrived on Disney's doorstep, this is the first time a representation of Africa has been given that is not dependent on Western civilization: miraculously, there are no white saviors in this film. Perhaps this is because it is helmed by a director who actually lives in Uganda, and has a connection to the people and culture. This is why the film strikes so true: its depiction of Uganda is seen through the eyes of locals, and not just some touring Hollywood executives.
Let's hope that more good films are made in Uganda and the surrounding countries that represent it in cast and in story just as much as QUEEN OF KATWE does... You won't want to miss this film. Now playing at Midtown Cinema!
Disney has always gravitated towards the story of the underdog: climbing up from the depths of adversity, and proving to the world that they are worth something. And Mira Nair's QUEEN OF KATWE holds true to this theme -- telling the true story of Phiona Mutesi (played by Marina Nalwanga), a young girl who rises from the slums of Uganda to become a chess master, this story has inspiration steeped in its bones. But it's got more up its sleeve than warm and fuzzy feelings... it actually lets Western civilization get a glimpse of the social landscape of Uganda through a lens other than its own.
Phiona lives with her mother, Nakku Harriet (Lupita Nyong'o) and brothers in Katwe, a slum on the outskirts of Kampala, trying to make ends meet by selling maize on the street. One day, her brother Brian (Martin Kabanza) shirks his duties to play with some kids at a local chess club in the neighborhood, and Phiona follows him. Despite the other children's insistence that Phiona stinks, she begins to learn the game, cleaning herself up and stubbornly sticking to it; and pretty soon, she's beating the regulars, and pulling tricks out from her head that the club's coach, Mr. Katende (David Oyelowo), has only seen in books.
The rest of the story details the discipline and excitement that Phiona experiences as the kids enter tournaments -- Benjamin (Ethan Nazario Lubega) and Ivan (Ronald Ssemeganda) follow Phiona further and further into competitions -- and the struggle that her family has in keeping their heads financially afloat. Each and every character adds their own nuance of life into the story, whether it is a lesson in humility, commitment, or confidence.
The film shows with such sharp clarity what life is like for young Phiona: vendors sticking their products into car windows to make a sale; men driving their boda-bodas (motorcycles); carrying the brightly colored plastic jugs to collect water; the treasure of a song being sung during dinner. Even the opening logo has that reggaeton music playing in the background. You will hear words like "sebo" and "nyabo" ("sir" and "madame" respectively), and delight in the mannerisms that are so prevalent in Uganda. While there are some moments throughout the film that give a slight overdose of melodrama, the atmosphere rings true: this film will transport you.
Nyong'o and Oyelowo, of course, give esteemed performances, but credit must be showered on the new talent in this ensemble: Nalwanga and the rest of the chess club are phenomenal. And the well-chosen cast is just a part of what makes this film stand out from all the other feel-good Disney movies of the past. While the "underdog" stories have always thrived on Disney's doorstep, this is the first time a representation of Africa has been given that is not dependent on Western civilization: miraculously, there are no white saviors in this film. Perhaps this is because it is helmed by a director who actually lives in Uganda, and has a connection to the people and culture. This is why the film strikes so true: its depiction of Uganda is seen through the eyes of locals, and not just some touring Hollywood executives.
Let's hope that more good films are made in Uganda and the surrounding countries that represent it in cast and in story just as much as QUEEN OF KATWE does... You won't want to miss this film. Now playing at Midtown Cinema!
Wednesday, October 12, 2016
Review: The Birth of a Nation
We've been hearing about this film since it made waves at Sundance; borrowing the name of D.W. Griffith's 1915 movie to make a statement, director Nate Parker's THE BIRTH OF A NATION has kept our attention since it made waves at Sundance. And with the formation of the Black Lives Matter movement and the constant occurrences of police brutality and political drama, this film has perfect timing.
The film follows the story of Nat Turner (played by Parker), a literate slave who led a revolt against the white slave-owning families in Southampton County, VA in 1831. It's a violent tale, which is not glazed over in the film: once the rebellion occurs (and in a few scenes prior), there are moments that borrow their tone straight from horror films, unapologetic in their gore.
But for the first three quarters of the film, the story focuses on the buildup. Since he was a little boy, Nat has lived on the Turner Plantation, owned by a family (whose last name he has taken) that has always seemed to keep conditions a little more humane than the surrounding plantations -- they still treat them as lower beings, but there is a certain lack of assault and removal of human rights that puts them a notch above the others. Unfortunately, this progressive act has made them a laughing stock to the rest of the county. But when Samuel Turner (Armie Hammer) decides to pay off some debts by renting Nat out as a traveling preacher to the slaves in neighboring plantations, something begins to shift: what at first makes Samuel resort to alcohol soon becomes a tactic he's willing to try to take back his family name.
But Nat, who was told since he was a little boy that he is a prophet, believes that God is telling him to take action. After his wife, Cherry (Aja Naomi King) is assaulted by white slave drivers, and Samuel allows a guest to have his way with another slave on the plantation, Nat calls together a group of men to rebel.
Let's back up for a moment. The idea of Nat as a prophet is not taken lightly in the direction of this film. In real life, Turner would speak of visions that he had from God, and would preach to his fellow slaves; while the film curtails the idea of Nat having visions, there is certainly enough divine imagery sprinkled throughout the film to nod to this detail of his history. The cold, harsh truth of slavery is paired with fleeting, fantastical dream sequences, revealing nearly angelic qualities in this young preacher. While the fact that some of these artistic decisions seem to regard Nat as a savior instead of the leader of a movement seems a little bit of a stretch for me, it certainly paints a picture of Nat's spiritual commitment, and his commitment to the cause.
THE BIRTH OF A NATION is now playing at Midtown Cinema! Come watch a shoo-in for an Oscar nomination.
The film follows the story of Nat Turner (played by Parker), a literate slave who led a revolt against the white slave-owning families in Southampton County, VA in 1831. It's a violent tale, which is not glazed over in the film: once the rebellion occurs (and in a few scenes prior), there are moments that borrow their tone straight from horror films, unapologetic in their gore.
But for the first three quarters of the film, the story focuses on the buildup. Since he was a little boy, Nat has lived on the Turner Plantation, owned by a family (whose last name he has taken) that has always seemed to keep conditions a little more humane than the surrounding plantations -- they still treat them as lower beings, but there is a certain lack of assault and removal of human rights that puts them a notch above the others. Unfortunately, this progressive act has made them a laughing stock to the rest of the county. But when Samuel Turner (Armie Hammer) decides to pay off some debts by renting Nat out as a traveling preacher to the slaves in neighboring plantations, something begins to shift: what at first makes Samuel resort to alcohol soon becomes a tactic he's willing to try to take back his family name.
But Nat, who was told since he was a little boy that he is a prophet, believes that God is telling him to take action. After his wife, Cherry (Aja Naomi King) is assaulted by white slave drivers, and Samuel allows a guest to have his way with another slave on the plantation, Nat calls together a group of men to rebel.
Let's back up for a moment. The idea of Nat as a prophet is not taken lightly in the direction of this film. In real life, Turner would speak of visions that he had from God, and would preach to his fellow slaves; while the film curtails the idea of Nat having visions, there is certainly enough divine imagery sprinkled throughout the film to nod to this detail of his history. The cold, harsh truth of slavery is paired with fleeting, fantastical dream sequences, revealing nearly angelic qualities in this young preacher. While the fact that some of these artistic decisions seem to regard Nat as a savior instead of the leader of a movement seems a little bit of a stretch for me, it certainly paints a picture of Nat's spiritual commitment, and his commitment to the cause.
THE BIRTH OF A NATION is now playing at Midtown Cinema! Come watch a shoo-in for an Oscar nomination.
Review: The Innocents
"Faith is 24 hours of doubt and one minute of hope."
This honest description comes from a woman wracked with trauma and hiding in secrecy -- from a nun, in fact. Director Anna Fontaine's THE INNOCENTS explores a too-real, overwhelmingly solemn experience, based on real events, which hope to remind us of the truth behind this statement.
Mathilde Beaulieu (Lou de Laâge) is a young doctor working for the French Red Cross in Poland, 1945. When a nun comes to the door of a survivor camp at the end of the war, Mathilde discovers a world constructed by nightmares: in the nearby convent, several nuns are in advanced stages of pregnancy, a result of a night in which German soldiers attacked the convent 9 months previous. Mathilde agrees to help the nuns in birthing the babies, and to keep their secret.
What an emotionally brutal, complex story to bring to the big screen, and yet it is handled with such sensitivity. The plot unfolds with as much prudence as can be hoped for, not forceful in its procedure but simply allowing the audience to uncover the horror of the situation themselves. Fontaine gives a devastating look at the inner turmoil of these nuns as they struggle with their faith and outward perception, not to mention PTSD from the rapes, throughout the film.
De Laâge shines in her performance, serving as the surrogate for the audience while simultaneously tackling her own arc. Agata Buzek and Agata Kulesza (who we've recently seen in last year's IDA) give beautiful performances as well, handling their characters' circumstances with great delicacy.
This is a film you won't want to miss. THE INNOCENTS is now playing at Midtown Cinema!
This honest description comes from a woman wracked with trauma and hiding in secrecy -- from a nun, in fact. Director Anna Fontaine's THE INNOCENTS explores a too-real, overwhelmingly solemn experience, based on real events, which hope to remind us of the truth behind this statement.
Mathilde Beaulieu (Lou de Laâge) is a young doctor working for the French Red Cross in Poland, 1945. When a nun comes to the door of a survivor camp at the end of the war, Mathilde discovers a world constructed by nightmares: in the nearby convent, several nuns are in advanced stages of pregnancy, a result of a night in which German soldiers attacked the convent 9 months previous. Mathilde agrees to help the nuns in birthing the babies, and to keep their secret.
What an emotionally brutal, complex story to bring to the big screen, and yet it is handled with such sensitivity. The plot unfolds with as much prudence as can be hoped for, not forceful in its procedure but simply allowing the audience to uncover the horror of the situation themselves. Fontaine gives a devastating look at the inner turmoil of these nuns as they struggle with their faith and outward perception, not to mention PTSD from the rapes, throughout the film.
De Laâge shines in her performance, serving as the surrogate for the audience while simultaneously tackling her own arc. Agata Buzek and Agata Kulesza (who we've recently seen in last year's IDA) give beautiful performances as well, handling their characters' circumstances with great delicacy.
This is a film you won't want to miss. THE INNOCENTS is now playing at Midtown Cinema!
Review: The Hollars
He gave us BRIEF INTERVIEWS WITH HIDEOUS MEN back in 2009, and as many directorial debuts can be, the result was uneven and lacking in authority. Now, John Krasinski has helmed another film, and while THE HOLLARS is endearing, it doesn't show a lot of growth in direction.
John Hollar (Krasinski) has an eccentric family. His father, Don (Richard Jenkins) cries at the drop of a hat; his brother, Ron (Sharlto Copley) is in his 30s and has the responsibility of a child; and his mother, Sally (Margo Martindale)... Well, Sally just found out she has a brain tumor.
John travels back to his childhood home, leaving behind his pregnant girlfriend, Rebecca (Anna Kendrick), to be with his family. But when he arrives, he is bombarded by the mess that his family has created around them. Ron has divorced his wife (Ashley Dyke) and is slowly being driven crazy by her new Reverend boyfriend (Josh Groban), and Don can't keep the family business from sliding into bankruptcy. Sally's nurse (Charlie Day) is now married to John's ex-girlfriend, making things a little awkward for John, who is already feeling anxiety about his and Rebecca's relationship.
The characters in the story are brilliant, and transparent to a fault. Unfortunately, there seems to be a lot of comedy for the sake of comedy in THE HOLLARS. The plot seems to be staged around gimmicks, and the more poignant moments of the film are sometimes a little bit clumsily juxtaposed with the latter.
But there are nuggets dispersed throughout the film that make up for the uneven pacing and cartoonish humor. The story may have its flaws, but the characters are still relatable. For a fun watch to bide the time until Oscar contenders start cropping up, check THE HOLLARS out at Midtown Cinema!
John Hollar (Krasinski) has an eccentric family. His father, Don (Richard Jenkins) cries at the drop of a hat; his brother, Ron (Sharlto Copley) is in his 30s and has the responsibility of a child; and his mother, Sally (Margo Martindale)... Well, Sally just found out she has a brain tumor.
John travels back to his childhood home, leaving behind his pregnant girlfriend, Rebecca (Anna Kendrick), to be with his family. But when he arrives, he is bombarded by the mess that his family has created around them. Ron has divorced his wife (Ashley Dyke) and is slowly being driven crazy by her new Reverend boyfriend (Josh Groban), and Don can't keep the family business from sliding into bankruptcy. Sally's nurse (Charlie Day) is now married to John's ex-girlfriend, making things a little awkward for John, who is already feeling anxiety about his and Rebecca's relationship.
The characters in the story are brilliant, and transparent to a fault. Unfortunately, there seems to be a lot of comedy for the sake of comedy in THE HOLLARS. The plot seems to be staged around gimmicks, and the more poignant moments of the film are sometimes a little bit clumsily juxtaposed with the latter.
But there are nuggets dispersed throughout the film that make up for the uneven pacing and cartoonish humor. The story may have its flaws, but the characters are still relatable. For a fun watch to bide the time until Oscar contenders start cropping up, check THE HOLLARS out at Midtown Cinema!
Review: Morris From America
No one wants to reminisce about when they were thirteen years old.
In fact, no one wants to be thirteen years old; especially when you're moving to a new neighborhood -- scratch that, new country -- and are going to be the only black kid in town. That pretty much eliminates any initial chances of fitting in.
Morris (Markees Christmas) has this problem. In director Chad Hartigan's newest film, MORRIS FROM AMERICA, we see the pinnacle of awkward middle school angst: Morris and his father, Curtis (Craig Robinson) have just moved to Heidelberg, Germany for Curtis's job as a professional soccer coach. Morris doesn't want to be in Germany; Morris wants to be back in the States, working on his dream of becoming a rapper. There's no way he wants to put himself out there, barely knowing the language, and make friends. But when even his language instructor, Inka (Carla Juri) tells him that he needs to go out and meet people his own age, Morris decides to go to the local youth club.
Almost instantly, Morris meets a girl. For a thirteen year old, puppy love is a big deal, and when Katrin (Lina Keller) pays attention to him, it's an even bigger deal. But Katrin hangs with a racy crowd, and the more Morris wants to be cool (in tune with his "gangsta rapper" ambitions), the more trouble he finds himself in.
Hartigan gracefully meshes relatable characters with unique circumstances, resulting in a completely fresh perspective for this coming-of-age story -- while it is already natural for a thirteen year old to feel alienated, the scenario is a little more stacked for Morris as he is thrust into a completely different world. And the relationship between Morris and his father feels completely natural and ingrained -- there is still the stern quality of parenthood in Robinson's performance, but it is clear that father and son are also friends. This is largely due to the chemistry that Robinson and Christmas bring to the screen: they are perfectly cast.
With its high energy and realistic undertones, MORRIS FROM AMERICA is a delight. Starting 9/9 at Midtown Cinema!
Review: Swiss Army Man
There's an initial strangeness in seeing SOS messages scrawled on old tin cans and chip bags -- messages like "Help" and "I was on a boat and got lost" and "I AM SO BORED". The idea of needing to send for help in a place that there is so much garbage triggers wonder at what kind of "alone" this stranger really is.
That stranger is Hank (Paul Dano), a young man who has run away from home and gotten himself stranded on an island. Just as he is about to give up and end his own life, he sees a body in the distance; and though it is a dead body washed up on shore (played by Daniel Radcliffe), this corpse seems to have some magical qualities which Hank is not sure are real or if he's just hallucinating from starvation. It starts with a fart -- a really, really long fart -- that prevents Hank from killing himself, and continues with various functions that should never come from a dead body, until finally, the dead body speaks. And his name is Manny. And Manny is the SWISS ARMY MAN.
Written and directed by Daniel Scheinert and Daniel Kwan, the story unfolds to reveal a beautiful friendship. Hank knows Manny can help him survive and get back home, and so he begins the tender yet hilarious process of trying to trigger his dead friend's memories, which seem to enliven him enough to be more helpful. And so ensues a bizarre and wonderful relationship between two men, one struggling to live, and one struggling to... well... live.
The beauty of this movie is that it is inherently silly, and yet also full of vibrancy and meaning. Never again will a movie that is so actively about farts move you in such a heartfelt way. There are several details about the plot that don't quite add up, but at some point, it doesn't really matter. Its magic realism sweeps you into that safe place of suspended disbelief where it becomes more about the dynamic between the two characters and the lessons that they learn than it is about the logistics of where they are or what is actually taking place.
Dano and Radcliffe are like long lost brothers in this film, lighting up the screen with their characters; and the soundtrack is enthralling. Composed by Manchester Orchestra, the music consists of interactive a Capella -- the characters actually contribute to it -- with an incredible energy to it. Hank likes to sing to himself; his songs are like Manny's flatulence, in that they just come out, and that they are intrinsic to his survival and emotional wellbeing. If that sounds ridiculous, that's because it is. And that's what makes it so enjoyable.
You don't want to think too much before watching this movie. To overthink it would be to belittle the comic value and the sincerity of the characters. Just sit down and enjoy it. SWISS ARMY MAN is playing at Midtown Cinema starting 7/8!
That stranger is Hank (Paul Dano), a young man who has run away from home and gotten himself stranded on an island. Just as he is about to give up and end his own life, he sees a body in the distance; and though it is a dead body washed up on shore (played by Daniel Radcliffe), this corpse seems to have some magical qualities which Hank is not sure are real or if he's just hallucinating from starvation. It starts with a fart -- a really, really long fart -- that prevents Hank from killing himself, and continues with various functions that should never come from a dead body, until finally, the dead body speaks. And his name is Manny. And Manny is the SWISS ARMY MAN.
Written and directed by Daniel Scheinert and Daniel Kwan, the story unfolds to reveal a beautiful friendship. Hank knows Manny can help him survive and get back home, and so he begins the tender yet hilarious process of trying to trigger his dead friend's memories, which seem to enliven him enough to be more helpful. And so ensues a bizarre and wonderful relationship between two men, one struggling to live, and one struggling to... well... live.
The beauty of this movie is that it is inherently silly, and yet also full of vibrancy and meaning. Never again will a movie that is so actively about farts move you in such a heartfelt way. There are several details about the plot that don't quite add up, but at some point, it doesn't really matter. Its magic realism sweeps you into that safe place of suspended disbelief where it becomes more about the dynamic between the two characters and the lessons that they learn than it is about the logistics of where they are or what is actually taking place.
Dano and Radcliffe are like long lost brothers in this film, lighting up the screen with their characters; and the soundtrack is enthralling. Composed by Manchester Orchestra, the music consists of interactive a Capella -- the characters actually contribute to it -- with an incredible energy to it. Hank likes to sing to himself; his songs are like Manny's flatulence, in that they just come out, and that they are intrinsic to his survival and emotional wellbeing. If that sounds ridiculous, that's because it is. And that's what makes it so enjoyable.
You don't want to think too much before watching this movie. To overthink it would be to belittle the comic value and the sincerity of the characters. Just sit down and enjoy it. SWISS ARMY MAN is playing at Midtown Cinema starting 7/8!
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