“Widows”
This has to be the strangest heist movies I’ve ever seen. The heist itself doesn’t happen until one hour and 55 minutes into the too-long film (yes, I checked my watch at the time). One could hope that those moments leading up to the pivotal act would be filled with ever-increasing tension, but alas, not really. There are two stories here: one about the widows of career criminals gunned down during a robbery and their need to come up with a lot of money quickly, and the other about a local (white) Chicago politician (Colin Farrell) and his upcoming election against a serious challenger who is black (Bryan Tyree Henry). I found the women’s story much more interesting than the men’s, mostly because the latter is more of a character study/lesson in political maneuvering that didn’t offer anything particularly new or captivating. That the widows’ journey is spearheaded by the always-brilliant Viola Davis as a character who is quite buttoned-up with all kinds of depth just beneath the surface, doesn’t hurt at all. She is ably supported by Michelle Rodriguez and Elizabeth Debicki (so good in “The Night Manager”). Liam Neeson shines in a small but pivotal role.
“The Favourite”
Brilliant, brittle dialogue, three amazing female actors and a setting of the English court of Queen Anne (her reign was 1702-07) are enough to make this sumptuous, cynical and gorgeous film a worthwhile Oscar contender. It’s also dark, literally (mostly interior, lit only by candles) and metaphorically: The very worst in mankind is on display in this political and personal power struggle over who will influence the queen the most. At first, we’re all for the newcomer Abigail (Emma Stone), who has had a truly tough life before arriving at court as a disgraced cousin to the conniving Lady Sarah (Rachel Weisz). After a while, our sympathies shift, however, as Abigail proves as dirty a fighter as her cousin. Both actresses are wonderful in their roles, but it is Olivia Coleman, as the befuddled, often ill, narcissistic, insecure and immature queen, who walks away with the acting honors. Equally adept at comedy from low to high and pathos, Coleman attacks her multilayered character with glee, much to the audience’s joy. Not one of her moments falls flat and she squeezes humor out of the simplest line of dialogue, such as, “Oh. I hadn’t thought of that.” Kudos go to writers Deborah Davis and Tony McNamara, costumer Sandy Powell, photographer Robby Ryan, production designer Fiona Crombie and director Yorgos Lanthimos. Not for the faint of heart or the prude, all others will be taken in by “The Favourite,” a very depressing view of humanity delivered with panache.
“Becoming Astrid”
Anchored by a brilliant performance by Alba August, this is a charming-yet-realistic small gem of a film. Born in 1907, beloved children’s writer Astrid Lindgren spent her childhood in a large, rigid and highly religious farm family in rural Sweden. Her mother was particularly strict but her father was open enough to recognize there was something special about her. Young Astrid was an outgoing, emotional rebel from the start, in small ways, then bigger ones. The film covers only a few of her formative years, from age 16 when she began working for the local newspaper through her mid-20s, but those years would be filled with discovery, love, heartbreak, tragedy—all the experiences necessary to gifted writers through history. It would not be until the 1940s when she began publishing her children’s books (“Pippi Longstocking,” for one) that she came to fame—and controversy: Conservatives were not pleased that all her children defied and resented authority, just as Astrid had done. Highly recommended.
