Middleburg Film Festival 2020: "Concrete Cowboy" Review
Concrete Cowboy is not an original story. Estranged son and father come together to try and correct the son’s behavior has been done before. While much of its premise is familiar territory, this film takes a look at traditions of old and what reconnecting or staying in touch with them can do for a person, a family, and a community.
After Cole (Caleb McLaughlin) gets into trouble at school, his mother (Liz Priestley) has had enough. She decides to drop him off with his father, Harp (Idris Elba), to try and have some discipline instilled in him. It’s evident that the neighborhood recognizes Cole, but it’s been long enough for him to be groggy on most of the who’s who. He does know his cousin Smush, (Moonlight’s Jharrel Jerome) who pulls up in a nice ride with some dope kicks. Smush wants Caleb to ditch the stables and hit the streets to make real money.
As most films like this go, after some time of friction, Cole begins to understand his father’s urban cowboy way of life. He appreciates the hard work, respect of tradition, and taking care of horses. Smush’s way of life doesn’t fly in Harp’s home, so Cole is forced to make a tough decision on the way he wants to go.
The film boasts of an all star line up. Caleb McLaughlin sheds his Stranger Things persona for a coming of age turn as “Cole from Detroit”. Method Man reminds us that he has some acting chops as Leroy, the former urban cowboy turned lawman. Perhaps the surprise casting comes from the real riders of Fletcher Street in Philadelphia. Sprinkled throughout the group of urban cowboys, these real life cowboys give the film its culture and authenticity.
Cinematographer, Minka Farthing Kohl uses natural lighting to draw the viewer in. Small moments like the flickering of firelight used to light subjects, brings a certain amount of intimacy to this story. Director, Ricky Staub, has a way of using the camera and editing to capture moments and lock them in time. Using more mids and close-ups than wide establishing shots, Staub is able to keep the focus on the characters and bring us into their world.
The story of Concrete Cowboy is one of a return to an old fashioned way of life and connection. It lassos the connection of man amongst one another and with horses. It highlights the importance of storytelling amongst generations, with one character even emphasizing the significance of cadence in oral storytelling. This story is a bumpy ride at times in getting to its destination, but there are beautiful visuals and heartfelt moments along the way.
Rating: C+
"The Front Runner" Review: A Timely Bio Drama
The Front Runner is proof that there’s nothing new under the sun. The film looks at a pivotal moment when politics and media crashed together to change the way we analyze political candidates personal lives and decisions forever. We still deal with political scandal today, much like the 1988 presidential run that crashed within a matter of weeks for Gary Hart, but this is when the idea of news media being a watchdog and covering candidates personal lives to ensure they match. We’ve seen bio drama films like this as well, but co-writer/director Jason Reitman gives us that old gum with a new way to chew it.
Gary Hart (Hugh Jackman) is a man of the people. He is charismatic, smart, handsome, and willing to take a stand against politics as usual. You know, the kind of stuff we like to see even today. All signs pointed to him being the frontrunner of the ’88 election before suggesting to a reporter that he’d be bored if he followed him around, and thus encouraging him to do so. Hart’s bluff is called, as the Miami Herald follows him and uncovers a scandal that ultimately ends Harts political run.
Reitman gives us an inside baseball look at the situation as things unfold. In fact, perspective is key in Reitman’s direction both in the script and in his frame. Numerous times throughout the film he tells two stories simultaneously so that you have to keep up. In one particular scene, Hart sits at a table in a wide shot with his back to the camera as it moves around capturing the conversation amongst Hart’s team. In the background you see a young reporter enter the room and begin a discussion with a member of Hart’s political team. Reitman’s ability to keep our mind engaged, while cleverly displaying multiple stories and pushing each scene forward is what makes the film fun to watch. We know the ending as we watch the story unfold in 2018, but getting there is probably as stimulating cinematically as it was to live through in 1988.
This is an ensemble film in which everyone brings their A game. Jackman, known for his ability to be a larger than life on screen presence, shows considerable controlled restraint and focus. He makes Hart, a player on the team, rather than the star in the film. In doing so, you can focus on all the angles and members of the cast. Vera Farmiga as Lee Hart doesn’t have a lot of screen time in comparison, but her presence is felt. In fact, in one confrontation scene between Gary and Lee, the atmosphere changing of her presence and what’s about to happen is so palpable that you feel as bad for Gary as when your sibling was about to get spanked back in the day. JK Simmons, Molly Ephraim, and Mamoudou Athie all have incredible character archs as they come to grips with Hart’s infidelity and what the fallout means to them. Each perspective gives the audience something to chew on.
The Front Runner may not appeal to mass audiences. It’s certainly a character study that allows viewers to draw conclusions on politics today, and a director’s masterclass on framing and technique. However, its undeniable timeless and timeliness of its subject matter is worth the view!
Rating: B+
Middleburg Film Festival '18: "Boy Erased" Review
Boy Erased is based on the memoir of Garrard Conley’s experience with gay-conversion therapy. Adapted to screen by writer/director Joel Edgerton, the film allows its audience to come to a conclusion based on what’s presented. At its heart, the movie is about where we draw lines in our love, and if we do, is it truly unconditional love?
Lucas Hedges is Jared Eamons, son of minister Marshall Eamons (Russell Crowe) and first lady Nancy Eamons (Nicole Kidman). Growing up a preacher’s kid, Jared finds himself at a crossroads between his faith and family after coming to terms with the fact that he’s gay. Upon his son’s coming out, Marshall seeks wisdom through church elders, while Nancy defers to Marshall’s leadership.
Marshall and Nancy enroll their son in a conversion program called Love in Action that’s directed by Victor Sykes (Joel Edgerton). As time moves forward, Jared quickly sees that something is off in the therapy. His dutiful trust in his parents becomes shaken as he witnesses the degradation of his fellow participants. This sparks action in Jared to take his destiny into his own hands.
The film jumps around in chronology to give us a picture of Jared’s life leading up to Love in Action and beyond while giving us the “full picture” of Jared’s struggle. The key to this film is that Edgerton makes Jared our eyes into this world. Hedges has a way of displaying his internal conflict without wearing it on his sleeve. Instead, his journey in finding himself, standing up to his abusers, and charting his path in life is easier to understand because the message is not clouded by accusation or heavy judgement. Crowe and Kidman turn in authentic performances as well with both sides clinging to to their belief system.
Boy Erased’s conspicuous restraint allows its viewer to be haunted after the film by what they witnessed. After all, it’s the quiet, solitary moments in life in which we wrestle with the big questions.
Rating: B
Middleburg Film Festival '18: "Widows" Review
In lesser hands Widows would be a run of the mill heist film. Give this script to any other director and you may not be challenged to keep up visually in the way Steve McQueen intelligently crafts this film. Give this script to any other cast and the words wouldn’t be elevated from the page to create characters that we see transform throughout the course of the film. Grab your popcorn folks; this is why we go to the movies!
Set in Chicago, Veronica (Viola Davis), Linda (Michelle Rodriguez), Alice (Elizabeth Debicki) and Amanda (Carrie Coon) are found grieving the loss of their criminal husbands. After the hubbies perish in their latest heist attempt, their death means nothing to the people they owed. Local crime boss turning politician, Jamal Manning (Brian Tyree Henry), seeks the money that Harry Rawlings (Liam Neeson) and his crew stole from him on principle, but also because he’s running against Jack Mulligan (Colin Farrell), the man whose family has been alderman of their district for two generations prior. Manning’s motive for getting the two million dollars is solid and with his cold-blooded gangsta brother, Jatemme (Daniel Kaluuya), eager to help his brother win the elected spot, Veronica has no choice but to get to work. Equipped with a notebook her husband Harry left, Veronica decides that she can get out of debt and start a new life if she and her fellow widows can pull off the big caper Harry plotted out.
McQueen’s work has always been raw, dark, and visually biting. He’s able to use those elements, set against the climate of current day Chicago, to give us a memorable, blockbuster heist film. The opening itself is a Soviet Montage of sorts that doesn’t lovingly bring you into the story but crashes together in a rhythmically edited mashup that quickly brings the audience up to speed. McQueen leads the story with his camera, laying the ground work for his actors to step in and knock the ball out of the park, and they come through.
This review would be too long if each cast member got their time to shine here, but know that they do. Of note, Davis delivers a stellar performance as per usual by giving Veronica an internal conflict that is exhibited in a way that only Mrs. Davis can do over the course of the film! Elizabeth Debicki may certainly have the best character development throughout the film as you literally watch a shutdown and abused widow become a leader and empowered woman. All of the lead and supporting cast give us well rounded characters to watch on screen.
McQueen and co-screenwriter Gillian Flynn never telegraph an overt message in dialogue, but rather McQueen uses visuals to explain the issues in Chicago. The political race between Mulligan and Manning is a plot point, but there is a larger conversation to be had in our minds as audience members about the violence in the streets of the Chi. There’s a beautiful single take shot that shows the economic disparity that pushes the story forward while making you think afterwards.
The only small issue with the film may be in the eagerness to gain their dignity and respect, there is an ever pervasive message of the widows trying to prove themselves in their words. Their actions already show that they’re more than capable so we don’t need on the nose lines like “no one thinks we have the balls to pull this off!” While well delivered from Davis, it would be nice to be shown more than told. This in no way takes you out of the film or detracts from the empowerment that it delivers.
Widows proves that heist films can have layered meaning and story to them. It’s a good night out for the ladies, date night, and even time for the fellas! However you see it, make sure it’s in a theater. It will be well worth the money spent!
Rating: A