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Sept 21, 2019 16:18:22 GMT -5
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Post by dex on Sept 21, 2019 16:18:22 GMT -5
Nice but WTF is their rating?
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pcdad
Friar Fanatic
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Movie News
Sept 21, 2019 23:30:36 GMT -5
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Post by pcdad on Sept 21, 2019 23:30:36 GMT -5
“mainly empty calories “
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Post by dex on Sept 23, 2019 8:53:53 GMT -5
‘Downton Abbey’ beats Brad Pitt, Rambo at box office By Jake Coyle The Associated Press
NEW YORK — Raise your tea cups! The big-screen encore of “Downton Abbey” handily (but very politely) thumped both Brad Pitt’s “Ad Astra” and Sylvester Stallone’s “Rambo: Last Blood” in theaters over the weekend in one of the more unlikely box-office upsets.
“Downton Abbey” debuted with $31 million in ticket sales, according to studio estimates Sunday, royally trumping the $19.2 million-opening for “Ad Astra” and the $19 million debut for “Rambo: Last Blood.” Neither the draw of Pitt in space nor a bandanna-wearing Stallone could match the appeal a tea party with old friends.
While the stout performance of “Downton Abbey” had come to be expected in the lead-up to release, it was still striking. The debut marked the best first weekend ever for Focus Features in its 17-year history. It ranks as the best opening for any specialty studio in a decade.
“We always knew that there was a tremendous amount of love for ‘Downton Abbey,’” said Lisa Bunnell, Focus’ distribution chief. “But as we started on working with promotions and special events for the movie, we realized that the love for ‘Downton Abbey’ goes way beyond what we even thought it was going to be.”
Coming four years since the series finale, “Downton Abbey” returns most of the original cast and was penned by its creator, Julian Fellowes. To drum up excitement, Focus hosted dress-ups and “Downton” parties.
While the film drew a healthy amount of younger moviegoers (31% under 35), its audience was predictably largely female (74 and older (32% over 55) — a seldom-catered-to demographic.
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Post by dex on Sept 27, 2019 8:32:01 GMT -5
REVIEW A delightful hero’s journey DreamWorks’ latest ‘Abominable’ is a familiar but enjoyable tale By Katie Walsh Tribune News Service
Yi (voiced by Chloe Bennet) helps her furry friend Everest back to the Himalayas in “Abominable.”
[DREAMWORKS ANIMATION]
It can be a rare occurrence to find a kid-friendly animated film these days that actually surprises and delights. Dreamworks’ “Abominable,” written and co-directed by Jill Culton, does indeed surprise and delight, all while following a familiar hero’s journey tale that borrows from favorite friendly creature films. One part “E.T.” and one part “King Kong,” this fits into the category of movies like “The Iron Giant,” “Lilo & Stitch” and the “How to Train Your Dragon” franchise, where plucky kids bond with strange, exotic creatures and attempt to save them from the capitalistic forces of exploitation. “Abominable” doesn’t change this formula; it just executes it exceptionally well, with a fresh perspective and plenty of magic.
The creature in question is a Yeti, whom Yi (Chloe Bennet) unexpectedly encounters on the roof of her Shanghai apartment building while he seeks shelter from the predatory Burnish Industries. Yi has been mourning the loss of her father, yearning for adventure. And in short order, she quickly decides to help the Yeti, whom she nicknames Everest, find his way home. Her pals, the adorably earnest and rotund Peng (Albert Tsai), and his cousin, the suave, phone-addicted Jin (Tenzing Norgay Trainor), also find themselves on the journey to deposit their new furry friend back in the Himalayas.
Along the way, Yi grapples with grief, family and her identity. This is an emotionally complex journey, because the main characters are slightly older (the characters would fit right in with the “Stranger Things” teens) and their emotional range is greater, more nuanced. It’s also worth noting this is a film with a specifically Chinese perspective, the culture imprinted in small details and in larger world views and philosophies.
The expected happens: harrowing chase scenes with the nefarious Burnish Industries team on their tail, including the elderly adventurer Mr. Burnish (Eddie Izzard), who loves nature so much he wants to possess it all, and his hired zoologist, the two-faced Dr. Zara (Sarah Paulson). But the unexpected also happens too, and frequently. The kids discover that Everest is more than just a large, cuddly friend. He possesses magic powers, turning the natural world into a surreal, dreamlike playground, exploding blueberries in Wonka-like fashion, growing dandelions into outrageously sized helicopters. The kids surf the flower fields with Everest and glide on koi fish clouds. His powers help them return to his Himalayan home, while they discover the magic within themselves.
The animation and production design is stunning, from the neon lights of the urban spaces, to the tiny fishing villages and wide-open spaces the city kids discover on their journey. There are a few breathtakingly beautiful sequences: getting barreled in a field of brilliant yellow wildflowers, stargazing in a pink willow tree. Everest’s wide-grinning visage calls to mind Toothless the dragon. He’s a goofy, loving, puppy-like creature who can suddenly harness all the energy of the world with a rumbling hum, conjuring lights and vibrations from the ether itself.
The startlingly profound and moving message we’re left with is a universal one: If we care for nature and animals with compassion and understanding, there’s a larger, unseen magic that just might reveal itself to and through you.
★★★½
“Abominable”
Voices: Chloe Bennet, Tenzing Norgay Trainor, Albert Tsai, Eddie Izzard, Sarah Paulson
Rating: PG for some action and mild rude humor
Running time: 1:37
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Post by dex on Oct 4, 2019 9:03:14 GMT -5
In the last moments of Rupert Goold’s “Judy,” Miss Garland herself (Renée Zellweger) tells (or perhaps implores) her audience: “You won’t forget me, promise me you won’t.” The film does make sure of that, preserving the iconic star in amber, though it’s not as the soft, golden-voiced teen we know so well. This is not Judy not in her prime, but Judy at one of her lowest points, at her most real and raw, and in a transformed and transfixing performance, Zellweger captures Judy as her flawed, vulnerable, sweet, charming, and deeply human self.
Based on Peter Quilter’s stage play “The End of the Rainbow,” adapted by Tom Edge for the screen, “Judy” takes place during a run of shows in 1969 at London’s Talk of the Town dinner club. A destitute Judy Garland reluctantly takes the gig in hopes of earning enough money to regain custody of her children, Lorna (Bella Ramsey) and Joey, from her ex-husband Sid Luft (Rufus Sewell).
During the contained period, the film unspools what makes the famous Garland tick. Yes, it is indeed the uppers, downers, booze, insomnia, anorexia and deep-rooted trauma inflicted by a childhood spent laboring under the watch of a controlling, verbally abusive Louis B. Mayer. But what we learn is Judy is driven equally by her desires as she is by her demons. All she wants is to be loved. And every night, if she chooses, she can receive that love, in droves, from her audience.
Zellweger embodies Garland’s brittleness, twitchy and strained, hardened by years of drugs and her rough upbringing of long work days and forced diet pills. Judy has crystallized, thin as glass, ready to hatter at any moment. She works because she must, and because she loves her children, but also because it’s all she’s ever known, to get up on stage and sing. It’s how she earns her living, her love, her existence.
Goold’s film is unshowy, merely a platform for Zellweger’s virtuosic performance. Goold is smart to simply give breathing room to Zellweger, and to the musical numbers, letting her stalk the stage in anger, glory and confusion without cutting away. Zellweger ably reminds us all that her ability to act while singing is unparalleled. And in “Judy,” she proves she may well be the best singing actor of her generation (lest we forgot “Chicago,” or her spunky performance of “Sugar High” in “Empire Records”).
Her first performance at Talk of the Town is riveting. Zellweger never blinks (literally) as Judy switches into performance-mode like a woman possessed by her own talent, relying on sheer adrenaline, muscle memory and the uncut adoration of an audience. That’s her real addiction, the high she’s always chasing.
Zellweger is a force of nature onstage, but she finds the softness and sweetness in the fragile Judy, her wry humor and loving nature. We witness these moments in the hushed exclamation of “oh that’s good,” over a bite of cake she allows herself, out of politeness to her hosts, and in a shy invitation to dinner to a couple of fans waiting for her after her show, the only folks in London happy for her company. It’s a nuanced, complex, nakedly emotional performance that digs into the darkest psychology of one of our most beloved stars, and demands that, even in her lowest moments, we could never count Judy Garland out. The same goes for Renée Zellweger.
★★★½
“Judy”
Starring: Renée Zellweger, Finn Wittrock, Bella Ramsey, Jessie Buckley, Michael Gambon, Rufus Sewell
Rating: PG-13 for substance abuse, thematic content, some strong language, and smoking
Running time: 1:58
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Post by dex on Oct 11, 2019 8:29:08 GMT -5
REVIEW Gentle spooky charm ‘The Addams Family’ reboot doesn’t break the mold By Katie Walsh Tribune News Service
The enduring appeal of “The Addams Family” is quite impressive. With only four notes and a couple of snaps, plus a classic black dress, one can instantly evoke the classic American Gothic clan, who are creepy, kooky, mysterious and spooky. Since Morticia’s 1938 debut on the pages of The New Yorker, in a cartoon drawn by Charles Addams, the unusual family has been iconic in every possible format: a 1960s TV series (thanks to that catchy theme song by Vic Mizzy), two animated series, two wildly popular 1990s feature films, a Broadway musical, video games and now, an animated feature directed by “Sausage Party” helmers Greg Tiernan and Conrad Vernon, written by Matt Lieberman, Pamela Pettler and Erica Rivinoja.
Former New Yorker cartoon editor Bob Mankoff said in a 2010 interview that Addams’ work “delighted in turning upside down our assumptions about normality and its relationship to good and evil.” That is the underlying thesis of this “The Addams Family,” which isn’t a new take so much as a deeply faithful rendering of Addams’ cartoons, in style and content. The animated figures hew closely to Addams’ cartoons, imparted in the dry, deadpan, punny wordplay integral to the Addams appeal, upending the idea of what normal looks like.
This is all par for the Addams course, so what new territory can be wrought here? There are some supernatural liberties that can be taken, for sure, in this computer animated format, but the core beliefs are in place. The Addams might look, talk and act darker and weirder than most, but what makes them the weirdest is they’re a loving, tight-knit family. Oscar Isaac’s Gomez is smitten with his wife, Morticia (Charlize Theron), and both are invested for their children, Wednesday (Chloë Grace Moretz) and Pugsley (Finn Wolfhard), and their extended families.
There are some good gags about Wednesday’s unique methods of rebellion, and Nick Kroll brings an inspired vocal performance to Uncle Fester. But the real inventiveness of the film lies in its villain, a perfectly perky home and garden TV host, Margaux (Allison Janney), who has set her sights on gentrifying the Addams’ neck of New Jersey. She’s built a new suburban development called “Assimilation” in the foothills underneath the Addams’ abandoned insane asylum-turned-mansion and intends to sell all the homes while achieving massive TV ratings success.
With her blonde bouffant, Margaux is somewhat of a riff on Joan Cusack’s psychotic interloper Debbie, the villain from “Addams Family Values.” But Margaux is hilariously topical, as she whips up a frenzied pastel mob wielding digital torches on the internet forum Neighborhood Peeps. The question comes down to: Just who is normal anyway? No one, really, and that’s always been the appeal of “The Addams Family” over its many decades, allowing an outlet for our collective dark side and finding the humor in all things macabre.
The appeal of this “The Addams Family,” which doesn’t break the mold, is simply to spend some more time in this gently spooky world, which is a gateway for budding creepsters and goths. It’s refreshing that it doesn’t try to overreach the limitations of its story, but it’s so slight, it merely whets the appetite for more Addams fare, rather than providing anything truly satisfying.
★★½ “The Addams Family”
Voices: Oscar Isaac, Charlize Theron, Chloë Grace Moretz, Finn Wolfhard, Allison Janney
Rating: PG for macabre and suggestive humor, and some action
Running time: 1:27
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Post by dex on Oct 19, 2019 7:45:26 GMT -5
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friar82
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Posts: 8,163
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Post by friar82 on Oct 19, 2019 12:21:11 GMT -5
Enjoy the wedding, but please don't rub it in, Dex. Most of us here weren't on the invitation list. Meanwhile, the good folks at VIG are going to be without the tip that accompanies this VIP... Attachment Deleted
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Post by dex on Oct 20, 2019 8:02:15 GMT -5
A good time was had by all
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Post by dex on Oct 25, 2019 8:27:15 GMT -5
★★ “The Current War: Director’s Cut” Starring: Benedict Cumberbatch, Michael Shannon, Nicholas Hoult
Rating: PG-13 for some violence and mature thematic elements
Running time: 1:41
As “The Current War” hits theaters, it comes with a little red flag attached to its title: “Director’s Cut,” suggesting — somewhat mysteriously, to the average viewer, who probably never heard of the film before now — a hidden backstory.
In 2017, when the prestige drama about the rivalry between inventor Thomas Edison, industrialist George Westinghouse and visionary engineer Nikola Tesla premiered at the Toronto Film Festival, it was met by lukewarm to negative reviews. It subsequently fell into limbo when the Weinstein Company, which owned the movie, was derailed in the wake of sexual assault allegations against its co-founder, Harvey Weinstein.
But the world has not exactly been waiting with bated breath for the film’s flaws to be fixed, and for it to find a new distributor. What’s more, as the newly minted 101 Studios sends it out into the world — just as awards season heats up — the question remains: Have they been fixed?
Judging by two-year-old reviews from Toronto, many of the original criticisms of the film still apply to the new version, which lays out a fascinating but flawed-in-the telling account of the struggle to establish an industry standard for building America’s fledgling electrical infrastructure. Opening in 1880, the film follows the competition between Edison (Benedict Cumberbatch), who favored the safer but less efficient direct current, and Westinghouse (Michael Shannon), a proponent of the cheaper — but potentially more lethal — alternating current. Caught in the middle is the brilliant Tesla (Nicholas Hoult), who starts off working for the Wizard of Menlo Park, as Edison was known, but eventually defects to Team Westinghouse.
Some may find Tesla’s story perplexingly sparse, and find themselves wishing there were a whole other movie about him alone.
The details of the larger narrative — and the contrast between the personalities of the workaholic, stubbornly contrarian oddball Edison and the more pragmatic, even opportunistic, Westinghouse — make for an inherently compelling scientific thriller. Interesting historical tidbits abound, such as the efforts of both men to tar each other, by association, with the electric chair, a newfangled, and controversial, form of execution to which both men had connections.
But the main problem, despite committed performances by the three main actors, is the sheer amount of information that the movie tries to convey. Michael Mitnick’s screenplay shovels so many facts into the furnace of the film that it often feels like a string of too many, too-short vignettes, fueling a cinematic engine that chugs along in a race to cover all the necessary ground, while ignoring the scenery. (Unsurprisingly, the film features several shots of speeding trains.)
Mostly, “The Current War” plays like an article in a scientific magazine — packed with nuggets of data but mostly devoid of psychological insight. When Westinghouse cajoles his rival to do the right thing by telling him, with a tone of frustration, “This is about showing what kind of a man Thomas Edison is,” you may understand his discontent.
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Post by dex on Oct 28, 2019 8:45:57 GMT -5
‘Joker’ is No. 1 again at the box office By Jake Coyle The Associated Press
NEW YORK — Put on a happy face. “Joker” is No. 1 again.
Todd Phillip’s R-rated comic-book hit regained the top spot at the weekend box office in its fourth week of release, narrowly besting “Maleficent: Mistress of Evil.” The Warner Bros.’ sensation, starring Joaquin Phoenix, took in $18.9 million in ticket sales over the weekend, according to studio estimates Sunday.
That came in just above the $18.6 million haul for the Walt Disney Co.’s “Maleficent” sequel, which slid to second after a disappointing No. 1 debut last weekend of $36 million. “Mistress of Evil,” starring Angelina Jolie, is performing better overseas, where it grossed $64.3 million over the weekend.
With such a close race at the top between “Joker” and “Mistress of Evil,” the order could switch when final figures are released Monday.
But ticket sales have continued to surge well past expectations for “Joker.” With a modest budget of $60 million, it’s been extraordinarily profitable for Warner Bros. — although the studio, to mitigate risk, shared costs with Bron Studios and Village Roadshow Pictures.
This week, “Joker” became the most successful R-rated moved ever, not accounting for inflation, in worldwide release. It’s made $849 million globally, including $47.8 million internationally over the weekend. (Mel Gibson’s “The Passion of the Christ” remains the R-rated domestic leader, with $370.8 million.)
Despite mixed reviews, “Joker” — a “Taxi Driver”- styled spin on a comic-book origin story — has already amassed a box-office total exceeding that of more mainstream superhero movies such as “Thor: Ragnarok” and “Wonder Woman.”
No new releases mustered any competition with the holdovers. The best-performing newcomer was the STX Entertainment horror thriller “Countdown.” It grossed $9 million. Sony Screen Gems’ “Black and Blue,” a police thriller starring Naomie Harris, opened with $8.3 million.
Holding especially well was “The Addams Family,” United Artists and MGM’s Halloween-timed animated reboot of the macabre family. It slid just 28% in its second weekend with $11.7 million, good for third place
Much of the weekend’s action was in limited or expanding releases for acclaimed Oscar contenders.
Robert Eggers’ “The Lighthouse,” a black-and-white psychological drama starring Willem Dafoe and Robert Pattinson as 19th century lighthouse keepers, made $3 million on just 586 screens for A24.
Taika Waititi’s “Jojo Rabbit,” about a 10-year-old boy growing up in Nazi Germany, expanded into 55 theaters, earning a strong $1 million. In September, the Fox Searchlight release won the Toronto Film Festival’s highly predictive audience award , setting it up as a potential Academy Awards favorite. Its initial expansion suggests it will be a hit with audiences, too.
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Post by dex on Nov 8, 2019 9:12:54 GMT -5
In the past couple of years, it seems we all decided to admit that those made-for-TV holiday movies starring D-list celebs were actually pretty fun to watch. Since then they’ve only exploded in popularity, drawing more stars. Christmas movies aren’t just a guilty pleasure anymore, they’re a bona fide booming mini-industry. While Hollywood studios usually release a family holiday movie or two each year, Emma Thompson and Paul Feig’s holiday rom-com “Last Christmas” feels much more in tune with the Hallmark Lifetime approach, just with higher profile stars and a much bigger music budget.
The film is inspired by that delightfully cheesy 1980s Christmas tune “Last Christmas” by Wham! The screenplay, by Emma Thompson, Greg Wise, and Bryony Kimmings, plugs a literal reading of the song into a “Bridget Jones”-style story with a light Brexit dusting for topicality.
Arguably two of the biggest stars of the moment, Emilia Clarke and Henry Golding are Kate and Tom, who meet by chance outside the Christmas shop where Kate’s working, dressed up in an elf costume. Imagine if Will Ferrell’s “Elf” was having a day like “Bad Santa” and you’ll get a sense of Kate’s downward spiraling lifestyle, dragging a rolling suitcase from couch to couch, drinking alone in pubs, drowning her sorrows in full pints and one night stands. She’s recovering from a near-death experience, she tells Tom, and she hasn’t felt like her sunny self since she “came back.”
Tom, on the other hand, is whimsical, mysterious. He finds the joy in the little things, spinning and skipping down the street, exhorting Kate to always “look up.” But it inspires Kate to have awareness of the things around her, in her community, to have a little faith, feel a little gratitude. Of course, they start to fall in something like love, or so Kate thinks.
Director Feig has built an interesting body of work over the past couple of years. And while “Last Christmas” feels much more like a Thompson film than a Feig film (rapidly wordy, delightfully goofy), he brings a swift bounciness to the material. And he surrounds Clarke and Golding with charming supporting performances, from Thompson as Kate’s Yugoslavian mother and Michelle Yeoh, a surprisingly adept comic performer, as Santa, Kate’s stern boss.
While it feels only slightly more elevated than your standard TV holiday rom-com fare with a twist that can be seen coming from a mile away, it’s the performances and well-earned character arcs that make “Last Christmas” a satisfying holiday flick worth giving your heart to.
★★½ “Last Christmas”
Starring: Emilia Clarke, Henry Golding, Emma Thompson, Michelle Yeoh
Rating: PG-13 for language and sexual content
Running time: 1:42
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pcdad
Friar Fanatic
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Post by pcdad on Nov 8, 2019 21:58:38 GMT -5
Thanks dex. Americans seem to need a little romantic sentimentality right about now.
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pcdad
Friar Fanatic
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Movie News
Nov 21, 2019 20:39:52 GMT -5
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Post by pcdad on Nov 21, 2019 20:39:52 GMT -5
Took the night off from impeachment inquiry testimony and the Democratic candidates debate for the opportunity to view “The Irishman” in a classic Art Deco movie theater with an old-style marquee, a date balcony as some well remember, complete with a restored Wurlitzer organ - a most fitting venue to view a mob movie with enough nostalgia for those of you whose father may have been a Union man... Days when a guy got a job by knowing a guy.. Days when the Teamsters and politicians were inextricably linked. Days when Labor with a capital “L” was freely associated with organized crime. Memories for some, historical education for most viewers, providing context of time and place of a not too distant past. Phenomenal performances by star-studded cast and some surprise casting choices. The soundtrack, the clothing, their automobiles, the settings bring us along from post - WWII through the early 2000- aughts. Familiar Scorsese techniques will please aficionados of his catalogue of work. Glad to have viewed this tale of glorified amoral men who once wielded power only acknowledged by a nod or a ‘look’ but understood completely. Hang on to your socks as you journey through Scorsese’s homage to power and corruption as performed by a cadre of America’s Method and character actors. If not Scorsese’s Magnum opus then his final statement on the subject. We are sent off looking backwards as one faces the certainty and finality of what is to come. End of story. Finito
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Post by dex on Nov 22, 2019 7:57:54 GMT -5
★★★★ “A Beautiful Day in the Neighborhood” Starring: Tom Hanks, Matthew Rhys, Susan Kelechi Watson, Chris Cooper
Rating: PG for some strong thematic material, a brief fight, and some mild language
Running time: 1:48
Filmmaker Marielle Heller has an extraordinary talent for expressing the essence of a character through cinematic style. In her third feature, “A Beautiful Day in the Neighborhood,” Heller has mastered this, infusing her film with the gentle spirit and good-natured soul of the iconic American children’s show host Fred Rogers.
“A Beautiful Day in the Neighborhood” is patient. It is kind. It stops and takes a minute (literally) to simply be present, to be grateful. It is a kind of gentle and deeply affecting filmmaking that is completely original and reflective of Rogers himself.
The film opens with a re-creation of the iconic introduction to “Mister Rogers’ Neighborhood,” in which Tom Hanks, as Rogers, hits every beat of the song, zipping up a cardigan, tossing loafers and tying laces. He brings out a picture board, revealing photos of his friends: Lady Aberlin, King Friday XIII and his new friend, Lloyd Vogel (Matthew Rhys), looking stunned and bloody. The surreal moment sets the tone, which isn’t a biopic but an exploration of Rogers’ philosophy in action, a test of his power on a cynical man who believes himself broken.
Written by Micah Fitzerman-Blue and Noah Harpster, the film is inspired by a 1998 Esquire cover story by Tom Junod titled, “Can You Say… Hero?” Fitzerman-Blue and Harpster imagine Lloyd as an investigative journalist with a hard-hitting reputation. He’s a new father to a baby boy, but mired in a swamp of his own ire toward his father (Chris Cooper), with whom he’s recently brawled.
Throughout “A Beautiful Day in the Neighborhood,” Heller blends formats to pay tribute to Rogers’ chosen tool for building empathy: the television. She invokes the style of his show with miniature cityscapes that serve as interstitial exposition shots and toggles between the boxy televisual format of Pittsburgh public access TV to widescreen cinematic style. Rogers’ TV show enabled him to speak directly to children, and he used the access to make challenging feelings understandable. “Anything mentionable is manageable,” Fred tells Lloyd, and his gift is he can make unmentionable things manageable: in song, with puppets, with his slow cadence and steady presence.
The emotionally devastating effect of “A Beautiful Day in the Neighborhood” is stealthy, creeping in like a fog. Perhaps it’s Cooper’s imperfect but genuine attempts at reconciliation, or maybe it’s the grace that descends on Lloyd, who can finally smile, kiss his wife and cradle his baby wholeheartedly. Perhaps it’s merely the space Rogers holds for all of them, for all of us, emanating a sense of attention and care with a sentiment as simple and powerful as, “I see you. You’re important.”
The simplicity and sincerity in Rogers’ sentiments is almost overwhelming. This is not a world where we often hear, “I like you just the way you are.” Heller and Hanks, as filmmaker and actor, work in tandem to allow these notions of kindness and presence to just exist, unadorned by fervor and dramatics. And that is what makes “A Beautiful Day in the Neighborhood” so incredibly moving, and so incredibly radical.
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