Hytti nro 6

108 min.

Absurd, lief doch vervreemdend? Of herhaal ik dan mijzelf?

Het komt nooit voor (zeg ik zo uit mijn hoofd) dat ik me ongemakkelijk voel (vanaf het begin) door het kijken van een bepaalde film. Hytti nro 6 (dat is Fins) kreeg het voor elkaar: een Fins/Russische film in tijden van de oorlog in Oekraïne.

In compartement nummer zes (zoals de titel te vertalen is) zitten twee zeer verschillende mensen voor verschillende redenen. Ze hebben dezelfde bestemming en moeten hier meerdere dagen voor zitten. Zij is Finse student, bereisd en met allerlei meningen; hij is een Russische arbeider die nu al weet dat dit de rest van zijn leven is.

Als dit een Amerikaanse film was geweest, was het natuurlijk een romantische film geworden, misschien zelfs een romcom. Gelukkig hebben Europese films meestal meer ideeën over hoe vreemdelingen een connectie kunnen opbouwen. Zowel Laura als Ljoha hebben hun kop in het zand voor verschillende redenen, en trein en omgeving trekken ze daar langzaam uit. Op soms enigszins absurde manieren, ja.

A Good Liar

109 min.

Zo’n verhaal waarvan je al snel hoopt dat het af gaat lopen zoals je weet dat het af moet lopen, maar stel je voor dat je wel een ouderwets, outdated verhaal hebt gevonden en met de frustraties achterblijft.

Spoiler: gelukkig loopt het ook zo af. Al neemt de film er wel de tijd voor.

Het leeuwendeel van de film is het opzetten en volgen van de relatie tussen Roy en Betty. Twee senioren die toch nog iets moois bij elkaar vinden, al is dat wel nogal ongebalanceerd: Roy weet dat Betty miljonair is, Betty heeft genoeg aan gezelschap.

Als zijplotje wordt gedemonstreerd dat Roy wel vaker weet waar de centjes zitten, maar is hij dan alleen met Betty voor haar geld? Verdulleme.

De film is dan vooral een demonstratie van Mirren en McKellan in dialoog: heel de clue wordt met dik-hout-zaagt-men-planken neergegooid en gaat te lang door. Ja ja jeetje wat erg allemaal, maar eigenlijk te laat om impact te hebben. Ook wraakfilms hebben een goede balans nodig.

The Jane Austen Book Club

106 min.

Can I still call it contemporary when the film is fourteen years old – anyway it’s “story is based in the same time it’s been filmed”. Not changing the tag, that’s way too long.

They don’t make films like these anymore: wholesome without looking and feeling plastic. Yes, you can see everything coming from a mile away, but it still seems genuine (and all quite brown-ish, but that might just have been the 2010s). It’s also super easily-written sequel material, but I guess there’s no interest for book-focused romances in the 2020s (2030s?).

Female friends at different stages of their (romantic) lives come together for a book club. Solely for Jane Austen books, yes indeed. Time is divided pretty evenly between the four main characters, and none of the story lines are horrible and/or boring.

It all leads to an end with a dopey smile: look at books making things better. Honestly Netflix; I’ll write the sequel for you if the original author doesn’t want to.

Queen Sugar

13 x 60 min.

It’s no secret that I enjoy family epics, be they written or on screen. It’s a way in which writers (and actors) can show how much they now about character-creation, and if done well, can shove plot and world-building to the background. In the case of Queen Sugar, that isn’t done exactly – the cinematography of this show alone is making it worthwhile to watch.

queen_sugar_posterIn the beginning everything is clear. Three siblings come together because of a family emergency and disagree with each other on everything. Something happens, and they’re stuck together longer than desired. It’s the acting of everyone involved – down to the young boy – that makes you actively root for them to find each other again, and get what they desire.

Queen Sugar plays out in and around Louisiana, shown in such luscious colours that the few times in and around Los Angeles feel flat and fake. It’s clear that this state is another world, and some siblings fit in better than others.

It’s of little importance if they siblings learn that they work best when together and if they get what they want in the end (although I’ve learned that there’s four seasons, so who knows what will still happen?). Solely the looking and listening might be enough for you to enough this first season – which does fine on its own.

Queen Sugar, OWN 2016

To All The Boys

102 min.

It’s easy to judge this on many different levels and scoff a bit, but remember the target audience, and try to find some joy in your heart. I did.

2 all the boys This is the sequel to To All The Boys I loved Before. Mild spoilers for that one follow.

How long can a happy ending last? As everyone involved here are teenagers, the question might be a rhetorical one. Another crush shows up, and he seems much more nicer and attentive than Lara Jean’s boyfriend, oh no!

When not dating, worrying about dating and thinking of how to keep her boyfriend happy, Lara Jean has to deal with friendship, family and school as well. Actress Lana Condor makes sure she carries it well, even with those eye-rolling moments in which you just want to shake every teenager involved.

All of it is very cute and bright and sometimes very quirky, and all of it completely fits the bill and the people this has been made for. And – I admit almost with shame – for me as well.

To All The Boys: P.S. I Still Love You, Netflix 2020

The Kitchen

102 min.

In no way does this film show that the origin is a (comic) book, at least not the kind you might expect from DC (Batman and his ilk). This is ‘just’ a movie about the Irish mob in New York’s Hell Kitchen at the end of the seventies.

the kitchen film posterThree wives-of-mobsters are left hanging high and dry when their husbands are caught and imprisoned. The family doesn’t take as much care of them as expected either, so they decide to take matters in their own hands. And matters in this case are making money in less legal ways.

Not so surprisingly, this goes well, even better than the men that had started it. Other people, of course, are less than pleased by this, and some thing close to a hunt happens. So do dead bodies, but somehow The Kitchen never manages to add a sense of worry or urgency to all this. It all floats along; well-looking surroundings, okay soundtrack, okay dialogue. Any excitement? Not really. Why do I need to keep watching this movie, no matter how hard Melissa McCarthy is trying? Unsure, really. It’s all just there.

The Kitchen, DC Vertigo 2019

Sweet Bean

113 min.

This is such a delicate, kind little movie (I tried hard not to use ‘sweet’ there). I’m sure that Asian entertainment has dumb blockbusters, sappy, clichéd romances and downright disgustingly bad films as well, but those that find their way here, to our cinemas and televisions, have yet to disappoint. Maybe it’s in the cinematography, maybe because the script writers don’t seem to be afraid about keeping things small. Anyway, Sweet Bean.

Sweet bean posterThe movie is about food, but not just about it. How food is betrayed in Asian cinema is another thing that always tickles my fancy, by the way. Those people care. In this case, it’s about a man in a dorayaki (look them up for enjoyable pictures of food) stand, and an old woman that likes to help out. There’s a small plot line about a teenage girl as well, and in some way they’re all brought together by food.

Under that current develops a much harsher story, but the director manages to keep the balance between sweet and melancholic impressively well. This way, it’s not just something you watch and forget, you take it with you as a gathering of soft musings. And possibly with a craving for dorayaki.

Sweet Bean, Aeon Entertainment 2015

Can You Ever Forgive Me?

109 min.

I understand why this is quite award-friendly. I also understand why it didn’t win a lot. With these vague comments out of the way, let’s get to the story.

CYEFM posterLee Israel is an author that writes biographies not a lot of people – and definitely not her agent – care about. Instead of trying to find a job that will make her enough money to take care of her bills and sick cat, Israel digs in and tries to continue with making money from her writing. She’s complimented on completely disappearing behind the person’s voice she writes a biography about so that’s what she does: disappear. With her research and writing skills, she starts a very profitable business of embezzling letters from dead celebrities. With her lack of people skills and restraint … let’s just go with ‘it doesn’t end well for many people involved’.

The entire movie looks and feels a bit grubby, stubborn and unwilling to get out of the rut Lee Israel put it in. Israel herself isn’t a likeable character, but she isn’t exactly unlikable either. That’s probably largely due to neither Melissa McCarthy and the writing worrying about showing her ugliness. This is a sad creature, and her friend/fellow criminal isn’t much better off. Maybe you don’t completely root for them, but the ending will leave you tender.

Can You Ever Forgive Me? Fox Searchlight Pictures 2018

Widows

130 min.

Soms is enige voorkennis heel handig, puur om de verwachtingen (zonder spoilers!) bij te stellen. Ik verwachtte namelijk iets Ocean’s 8-achtig, een heist film zoals die waar de jaren negentig mee vol zat. Het bleek meer een (politiek) drama over ras, ongelijkheid tussen mannen en vrouwen en corruptie.

widows posterGelukkig is er de vrouwelijke cast – met vooral Viola Davis en Elizabeth Debicki – om dat overeind te houden. De eerste is altijd fijn en makkelijk om naar te kijken, de ander houdt een rol overeind die best makkelijk met niet meer dan ‘jankerig’ omschreven kan worden.

De mannen van de vrouwelijke cast zijn criminelen die een inbraak niet overleven. Degene waarvan ze gestolen hebben, willen de buit terug, en dat mogen de vrouwen oplossen.  En in plaats van alleen maar een montage van hoe ze zich daarop voorbereiden, dus ook uitstapjes naar ras, emancipatie en corruptie. Dat je het weet.

Het tempo dat je hierdoor mogelijk mist, wordt vergoed met de cinematografie; elke shot is een gestileerd plaatje (dat in het geval van interieurs en make up in verschillende catalogussen terecht kan).

Dus als je stiekem een acteursfilm wilt zien die er stoer uit ziet, zit met Widows helemaal goed.

Widows, Twentieth Century Fox 2018

 

The Girl in the Spider’s Web

117 min.

I don’t really know what this movie wanted to be. Is it about Lisbeth and how trauma makes for dysfunctional people? A hacker thriller? Family saga? Complaint about evil authorities?  Because it might have been all of that, but the movie as it was, didn’t even manage to dip below the surface of any of it.

The-Girl-in-the-Spiders-WebThis is my first Lisbeth Salander-experience, so I can’t say how it works in comparison with the books or the other movies. I know a bit about the character, but only saw the flaws people have written about. She’s one-dimensional, and even when emotions are finally shown, it’s the soundtrack and close ups that show the importance of it. And why is she half naked so much?

This time a job of hers goes wrong, making her hunted by authorities and hardened criminals and maybe also by someone from her past as well. Lisbeth only seems to work with men, and except for ‘the American’ they’re all white as well. Will her name be cleared and the criminals get what they deserve? Will we care?

If Sony wanted to use this as an introduction, there should have been more introductions. If they want to James Bond this thing (who cares who plays Lisbeth), they should have trusted the character and not add extra fibs to round her out (and fail).

It’s just not all that, and a bit too long as well.

The Girl in the Spider’s Web, Sony 2018