Trumbo

TRUMBO (Jay Roach, 2015)

TRUMBO is the sort of bullet-pointed biographical profile that studios love to trot out at awards time. If the subject pertains to Hollywood itself, all the better. Whether the details of the showcased person’s life are familiar to the viewing public or not, they’ll be spelled out with all the subtlety of a grade school book report. In this instance the person at the story’s center was unfairly punished for his beliefs during a shameful period in which the industry and government behaved shamefully out of fear that Communists were working to bring down America from the inside. Despite the events and thematic richness in this tale of injustice, director Jay Roach and screenwriter John McNamara execute it with dutiful monotony.

TRUMBO begins in 1947 with screenwriter Dalton Trumbo (Bryan Cranston) considered to be among the best at what he does in show business. Although he signs a studio contract to make him the highest paid writer in the system, he is conscious that others who work on films are not getting what he believes to be their fair share. A staunch defender of workers’ rights and a member of the Communist Party, Trumbo is visible in supporting his colleagues. Such advocacy draws a target on him from gossip columnist Hedda Hopper (Helen Mirren).

The pressure on Trumbo and fellow Communist screenwriters increases when the House Un-American Activities Committee holds hearings to root out the insidious red influence on the nation’s entertainment. Trumbo and those in the so-called Hollywood Ten refuse to answer some of Congress’ questions about their beliefs and are convicted for contempt. Trumbo serves a jail sentence and, like the others, is blacklisted from working again in the industry. To make a living he cannot take credit for what he writes. He persuades a friend to claim to have written his screenplay for ROMAN HOLIDAY. Steady, albeit low-paying, employment comes from Trumbo writing and rewriting B-movies for a small studio that never could have afforded him previously but is happy to utilize his services anonymously. Swimming in garbage screenplays that need polished, Trumbo enlists other blacklisted friends to assist him.

TRUMBO perks up somewhat when the writer connects with Frank King (John Goodman), the co-founder of King Brothers Productions. Goodman portrays the producer as a no-nonsense businessman in the business of selling nonsense. He holds no pretense in acknowledging that he’s bankrolling low-budget product, not art. To him Trumbo and the other ostracized writers merely represent fast, cheap, and high quality labor, with those characteristics in order of their importance. In a film full of commonly known and unknown people, he’s the only one to pop out from those playing classic Hollywood dress-up.

Cranston does solid but unremarkable work that is mostly the byproduct of the script than his acting abilities. TRUMBO lacks fire about the unfair treatment foisted upon him and his associates. Perhaps Trumbo didn’t have time to stew over that when he faced with the pressing need to support his family, but the film is missing the sense of conviction that helped to put the protagonist in these circumstances.

Grade: C-

How to Be Single

HOW TO BE SINGLE (Christian Ditter, 2016)

Alice (Dakota Johnson) is in a happy relationship with longtime college boyfriend Josh (Nicholas Braun), but she wants to take a break because she doesn’t feel she knows who she is outside of a couple. In HOW TO BE SINGLE she begins this presumably temporary split from Josh while working as a paralegal in New York City. At the office she meets and befriends Robin (Rebel Wilson), a hard-partying, commitment-resistant dynamo who is eager to teach her new friends in the ways of the modern single woman. Robin encourages Alice to get christened into the world of carefree hook-ups with Tom (Anders Holm), a bar owner with a pathological compulsion for ensuring that no woman will linger at his apartment the morning after. It doesn’t take long for Alice to determine that she and Josh were right for each other, but when she’s ready to end this experiment, she discovers he’s found another girlfriend during their time off.

Alice’s older sister Meg (Leslie Mann) is unattached and appears content with focusing on being an obstetrician than having a family of her own. Whether it’s her biological clock or daily interaction with infants, she eventually realizes she wants a baby of her own and turns to in vitro fertilization. Tom has a thing for Lucy (Alison Brie), who is friendly with him but appears to see him for what he is. Lucy wants someone serious about getting married and is using analytics on dating sites to locate the perfect man.

HOW TO BE SINGLE plays as a less bawdy version of SEX AND THE CITY when it was a television show, although the main characters aren’t nearly as tight socially as those on the HBO series. Alice and Robin are supposedly fast friends--and best ones too--yet Robin vanishes for long stretches, returning only when the film needs a jolt of energy. The episodic nature carves HOW TO BE SINGLE into segments that withhold it from establishing a comedic rhythm or narrative flow.

What Alice elects to do is the solo version of couples on THE AMAZING RACE that say they want to put themselves through a high stress situation to test their relationships’ strength. At one point someone on screen wisely acknowledges that maybe this isn’t the smartest thing to try. Screenwriters Abby Kohn, Marc Silverstein, and Dana Fox also have a curious idea of what Alice’s journey of self-discovery should be. She continues to be defined through the relationships she has, even if they’re fleeting, which directly contradicts what the character states that she wants to learn at the film’s start. There’s no personal growth for Alice other than some lip service toward the end. Otherwise the insistent message is that when she finds the right guy, she needs to lock him down as soon as possible. The film upholds the importance of female bonds yet often has the gals pushing each other into the arms of some guy lest they contemplate the horror of being alone for one second.

HOW TO BE SINGLE comes from the production company Flower Films, which Drew Barrymore co-founded. Alice is the type of character Barrymore would have been playing about fifteen years ago. Johnson is funny when showing how bad or out of practice Alice is at flirting, but she can seem too innocent, inexperienced, or passive. The film is divided among too many characters as it is, so it would have been better to invest Alice with the certainty that Brie’s Lucy displays. Wilson’s devil-may-care attitude boosts the laughs. Mann brings some pathos to Meg’s longing for a child and gets a physical comedy highlight when crawling out of a cab’s window while on the verge of giving birth.

HOW TO BE SINGLE gets tripped up by the fantasy it wishes to indulge about independence and the struggle for interdependence rather than codependence. It could stand to get a do-over, which is something the lead character would probably appreciate too.

Grade: C+

Race

RACE (Stephen Hopkins, 2016)

In RACE Jesse Owens (Stephan James) arrives at Ohio State University in 1933 as an already established track star, but the time necessary to train and compete may interfere with work so he can send money back home to Ruth Solomon (Shanice Banton), the mother of his daughter. Coach Larry Snyder (Jason Sudeikis) sees Owens as more than just a star at the collegiate level. He envisions an Olympic champion. Having lost his opportunity to win on the world stage, Snyder is driven to get the most out of Owens’ potential.

Owens and Snyder have their eyes set on the 1936 Summer Games in Berlin, but political matters may interfere with their plans. The rise of Adolph Hitler and the Nazi Party force the American Olympic Committee to consider boycotting the event rather than giving an implicit endorsement by participating. Construction company executive and AOC member Avery Brundage (Jeremy Irons) is appointed to visit Germany to observe what is happening there, meet with officials regarding discrimination concerns, and report back.

RACE depicts the best-known events and achievements of Owens’ life at the expense of seeing who did it. For a drama that is ostensibly about the four-time gold medalist, a substantial amount of attention is focused on behind-the-scenes matters in Germany. RACE contains incisive details regarding the politics of athletics, especially the Olympics, yet the number of these instances tend to crowd out the protagonist from his own film. Even when Owens is confronted with a political choice when the NAACP asks him not to go, RACE merely shows his choices at various steps thereafter rather than why he decides what he does.

The sports biography also strangely prioritizes other parts of the story while not seeking to understand Owens. He has a fling with a California beauty, but other than injecting a little conflict into his relationship with Ruth, it’s the sort of thing destined for deleted scenes. In roughly equating Owens with filmmaker Leni Riefenstahl (Carice van Houten), RACE is really reaching to compare their bravery in the face of hatred. Riefenstahl made propaganda films for the Nazis, including TRIUMPH OF THE WILL, and directed OLYMPIA, which captured the athleticism at the Berlin Olympics. How complicit Riefenstahl was with the Nazis is debatable, but RACE draws parallels between Owens performing before hateful crowds and Riefenstahl defiantly filming him that are problematic at best.

James brings quiet determination and awareness to Owens. His initial deference to Snyder, with eyes down, conveys how society expected him to interact with white people. James shows Owens carrying himself as a hero whose actions make a greater impact than any words. Sudeikis struggles to seem sincere as Snyder. It’s almost as if he’s playing the caricature of an old-timey coach in a comedy sketch.

RACE is made with apparent good intentions, but in attempting to take a wider view of Owens at the 1936 Olympics, it’s closer to a false start than a victory.

Grade: C+

Hail, Caesar!

HAIL, CAESAR! (Ethan Coen and Joel Coen, 2016)

As Head of Physical Production at Capitol Pictures Studio, Eddie Mannix (Josh Brolin) is an overworked executive who wonders if his efforts are worth all of the trouble. In HAIL, CAESAR! he’s not just overseeing the filmmaking on the backlot but primarily attending to the professional and private matters of Capitol’s contracted performers and directors. He’s more likely to be breaking up a starlet’s illicit photo shoot in the wee hours and managing images as he is to be behind a desk poring over spreadsheets.

HAIL, CAESAR! tracks an eventful, although not altogether atypical, day-plus for Mannix. Baird Whitlock, (George Clooney), the star of a Biblical epic, goes missing and is being held for ransom. Bathing beauty DeeAnna Moran (Scarlett Johansson) is in need of a husband to legitimize the pregnancy that isn’t yet showing or known by the gossip columnists. Singing cowboy Hobie Doyle (Alden Ehrenreich) gets plugged into a period drama that isn’t particularly suited to his talent for acrobatic horsemanship, thus testing the patience of the film’s director Laurence Laurentz (Ralph Fiennes). Amid this turmoil Mannix also has to fend off twin tabloid reporters Thora and Thessaly Thacker (Tilda Swinton) and slip out for a meeting with a Lockheed recruiter who promises him an easy and lucrative job.

Joel and Ethan Coen’s arch and affectionate send-up of early 1950s Hollywood provides plenty of surface pleasures for lovers of film history. Their gorgeous recreation of an aquatic musical scene analogous to one featuring Esther Williams evokes Technicolor movie magic in part through geometric design. A Gene Kelly-like routine with Channing Tatum leading a group of pent-up sailors in a song and dance number in a bar stands out as the sort of funny and joyous human spectacle that cinema excels at capturing. The latest and greatest computer-generated effects can be thrilling, but so too can men hoofing atop tables as tablecloths are pulled out from under them.

Although the Coens demonstrate fondness for classic Hollywood, they remind regularly of the artifice it is founded on. Stories about stars are planted with the press to match how the company wishes its employees to be perceived by the public. The studio bosses arrange dates between its actors and actresses solely for publicity and cover up legal matters as boosters and protection of the bottom line. The tops of sets and crews can be visible, sometimes from a distance, during these tremendous scenes of filmed entertainment. Dailies and rough cuts reveal the manipulation that goes into building an illusion of the projected dream world. As one of the Thackers says, people want to believe in something, not the facts, and the movies sell a kind of perfection. The Coens strive to undercut it while acknowledging the strange beauty all this fakery can produce. In a dark night of the soul moment for Mannix, he visits the Jesus film’s set of Golgotha. There’s nothing realistic about the crucifixes against the muted backdrop, yet the setting emphasizes a real yearning for spiritual enlightenment.

With its opening shot of Christ on the cross and first scene of Mannix in a confessional, there’s no mistaking that HAIL, CAESAR! is about the search for existential purpose and how it gets mixed up with art, commerce, and religion. Mannix’s turmoil comes from thinking that what he’s made his life’s work is frivolous and difficult. He isn’t wrong, yet Mannix isn’t quite ready to trade it in for something that won’t demand much from him while yielding greater rewards. How Mannix spends his days may be inconsequential in the grand scheme, yet isn’t he fulfilling a higher calling if going about his job with enthusiasm in spite of the struggles? Plus, there is a time and place for the minor. A lasso fashioned out of a string of spaghetti is effectively useless, yet there’s something to be said for the fleeting delight in seeing one in action.

Grade: B+

Anomalisa

ANOMALISA (Charlie Kaufman and Duke Johnson, 2015)

To Michael Stone (David Thewlis) everyone looks virtually the same, save for different hairstyles and clothes. More maddeningly, they all sound the same. In the stop-motion animated drama ANOMALISA Michael flies from Los Angeles to Cincinnati to give a presentation about customer service. After making an obligatory call home to his wife and son, Michael arranges to meet an old flame for drinks. She still resents how he left her without a satisfactory answer about their relationship’s end eleven years ago, and Michael doesn’t handle their reunion very well either.

Depressed and lonely he returns to his hotel room when he hears Lisa (Jennifer Jason Leigh) and her friend in the hallway. They’re in town from Akron to attend Michael’s seminar and are thrilled that he shows interest in them when he knocks on their door. MIchael is really only fascinated with Lisa, who sounds unlike everyone else (Tom Noonan). When he’s able to get her alone and listen to her speak and sing, it’s as though all of his problems have vanished.

The puppets used in ANOMALISA are startlingly life-like yet somehow off in a manner that unsettles. Seams that permit animators to change face plates have not been digitally erased, which emphasize the sentient android quality to the characters. The uniformity of all but Michael and Lisa manifests the psychological horror in the protagonist’s predicament and his potential salvation in finding an anomaly. Something this dour and emotionally naked is unusual for an animated feature, yet in this medium the eerie unreality to the detailed mundanity help to keep it from becoming too uncomfortable to watch versus if it were physically performed by actors. Having originally been staged for the ears rather than the eyes, animation proves to be an inspired way to adapt Charlie Kaufman’s theatrical work with a greater visual element.

The inability to escape oneself or find total relief in someone else runs through Kaufman’s work as a screenwriter, as in BEING JOHN MALKOVICH and ETERNAL SUNSHINE OF THE SPOTLESS MIND, and writer-director of SYNECDOCHE, NEW YORK. With ANOMALISA co-director Duke Johnson, Kaufman creates a world in which ordinariness and familiarity suffocate yet are the natural state of things. Michael is an insufferable person, at times more than the film can withstand, yet his plight in pursuit of novelty that eventually fades feels tragic especially with the bombardment of the new in this technological age. There is no shortage of new products to buy or strangers to meet, but what is one left with after the fleeting thrill of the unknown disappears?

ANOMALISA may be more disquieting than anything else in Kaufman’s neurotic body of work, which is why the humor about common aggravations provides brief but welcome breaks from the heaviness. Michael’s difficulties with getting a hotel shower’s water temperature right and failures with his room’s key card are amusing nuisances that can be shared with him even if his mental breakdown can’t. The unimaginative recommendations of what to do in a city, like Cincinnatians suggesting going to the zoo and trying the local chili, may be so funny because they reflect the same responses one could get from anyone in a place. Noonan’s voice work amuses with the deadpan nuance he employs in speaking for the masses. For as critical as ANOMALISA may seem of the indistinct crowd, the anger and disgust directed at them are just deflected feelings of those who own them. For the malcontents and misanthropes, the problem is really in here than out there.

Grade: B+

Jane Got a Gun

JANE GOT A GUN (Gavin O’Connor, 2016)

Jane Hammond (Natalie Portman) tends to her bullet-riddled, fur-trapping husband Bill (Noah Emmerich), but it’s only a matter of time until the Bishop Boys find and kill them at their home secreted on the New Mexico Territory’s frontier. In JANE GOT A GUN she hides their daughter with a friend and goes to gunslinger Dan Frost (Joel Edgerton) to hire him for protection. Jane and Dan are former lovers who were engaged to be wed when he returned from the Civil War. He still nurtures a resentment after coming back to discover she fled from their Missouri hometown and has taken up with another man. That she replaced him with Bill, whose head carries a bounty from the law and the local gang, wounds him even more grievously. Despite his objections, Dan agrees to assist Jane with fending off John Bishop (Ewan McGregor) and his scurrilous band of men.

To say that JANE GOT A GUN had a rocky road to get into theaters is like comparing traveling by wagon train with flying on the Concorde. Within days of the production’s start it lost two leading actors and the original director. One of the replacement actors eventually withdrew too. Edgerton switched from playing the villain to the hero. The actual release date ended up being almost a year and half after one was announced when the dust settled over cast and crew defections. Plus, a distribution partner went bankrupt.

None of that matters in terms of determining if the finished film is good or not, but it helps to explain why JANE GOT A GUN feels so ragged. The film is often at odds with itself. Director Gavin O’Connor attempts to incorporate the feminist point of view and lyrical style with the traditional western plot but comes up lacking a distinct perspective, poeticism, and narrative fluidity. The nonlinear structure does the story no favors as it ping-pongs between 1871 and the recent past for the characters. With minimal scenes McGregor’s Bishop gets lost in the shuffle, standing in as a monstrous villain known for the fearsome way he’s spoken of more than any impression he leaves. The tension between Jane and Dan suffers as well. Rather than flashbacks adding to the sense of tragedy in their relationship and the triangle, the scenes from a few years before merely fill in the blanks that the film has left unanswered until those points. The ending definitely does not seem earned.

Although afflicted with dullness, the film revives momentarily with Dan’s ingenuity in trying to level the fight between the vicious attackers and the badly outgunned and the initial outburst on the Hammond homestead. Still, as so-called cursed films go, JANE GOT A GUN is notable for being so ordinary in its flawed realization.

Grade: D+

Carol

CAROL (Todd Haynes, 2015)

In CAROL Therese Belivet (Rooney Mara) appears to be on the same track of many other young women in the early 1950s. She works in a Manhattan department store and has a boyfriend Richard (Jake Lacy) who is persistent in wishing to join their lives. Nevertheless, Therese entertains the notion of becoming a photographer and seems to hold Richard at arm’s length. She gives off the distinct sense of not yet knowing where she wants life to take her or how she might arrive at the destination.

That all changes gradually when she meets Carol Aird (Cate Blanchett). The glamorous older woman buys a train set for her daugher from Therese, and they have reason to be in touch again when the shopgirl mails Carol the gloves she left on her counter. Carol meets Therese for lunch as a way of saying thanks and is so intrigued by her that she extends an invitation to visit at her home in New Jersey. Carol is in the midst of divorcing her husband Harge (Kyle Chandler) and seems quite taken with the curious young woman that Therese is, even if the attraction goes unspoken. Therese is intrigued too, and eventually they depart together on a road trip west during the holidays.

Based on a novel by Patricia Highsmith, CAROL casts what would have been a socially forbidden romance at the time as a thriller. Phyllis Nagy’s screenplay opens the film in media res with a suspicious air around Therese and Carol conversing in a restaurant while seemingly under someone’s watchful eyes. On the surface there is nothing out of the ordinary about two women sharing a table in a public space, yet the images are charged with the hints of the clandestine. Director Todd Haynes often shoots scenes, particularly their first lunch, with an excess of space above and behind the women. While the framing violates presumed technical rules of composition, it implies the feeling of being observed from behind, of looking over one’s shoulders to be sure that one is not being spied on.

During a brief scene with Therese and friends crammed into a movie theater’s projection booth, one character taking notes remarks that he is tracking the differences between what those on screen are saying and what they are thinking and feeling. It’s as blatant a statement of purpose as possible to describe Haynes’ directorial approach and Nagy’s screenplay. The actions on screen and the dialogue tend to resist making plain the interior lives of the lovers. How Therese and Carol conduct themselves within the frame and what they convey through looks and body language are immeasurably more revealing.

Mara may seem a bit alien as Therese, or “flung out of space” as Carol remarks, but the quiet awkwardness she inhabits suits the part. Therese’s trajectory from impassive participant to controller of her destiny pulsates with the excitement of self-awakening. Still, in keeping with the period and the emotional exterior of the character, Mara’s terrific performance demonstrates her character’s development largely through the eyes. Blanchett’s regal bearing is used to great effect because Carol is somewhat like a queen, or one likely to be deposed. If her divorce is completed, she stands to be deprived of a lot financially and emotionally, yet she carries on how she sees fit unashamedly. Carol possesses the wisdom and scars that Therese has yet to receive. Like Mara, Blanchett is expert at employing glances to show how she envies Therese’s unformed qualities and desires to shield her from the pain that may come in the process. Despite the age and experience differences, Therese and Carol’s romance seems neither predatory nor imbalanced. Although unlikely companions who require time and circumstances to be on equal footing, their love story simmers with the passion of what it means to be seen and accepted in total by another.

Grade: A

The Hateful Eight

THE HATEFUL EIGHT (Quentin Tarantino, 2015)

A snowstorm is blanketing the Wyoming landscape in white in THE HATEFUL EIGHT when Major Marquis Warren (Samuel L. Jackson) stops a stagecoach in the hope that he might catch a ride to Red Rock and get out of the elements. After the Civil War, Marquis became a bounty hunter. He has three bodies stacked and ready to be cashed in if he can find transportation. To get on the stagecoach he must persuade John Ruth (Kurt Russell) that he means him no harm. John is known as The Hangman because he doesn’t kill his bounties but rather waits to see them strung up by their necks, and he’s not too eager for company due to the fact that he is cuffed to Daisy Domergue (Jennifer Jason Leigh), whose bounty will fetch the high price of ten thousand dollars.

As it so happens, Marquis and John are acquainted, thus granting him a seat. On their way they also reluctantly pick up Chris Mannix (Walton Goggins), whose claim to be the next sheriff of Red Rock is greeted dubiously considering his involvement with a notorious southern militia during the war. With the bad weather increasing, they stop at Minnie’s Haberdashery, where they find Bob (Demián Bichir), who is watching the place in Minnie’s absence; Oswaldo Mobray (Tim Roth), the hangman en route to Red Rock; Joe Gage (Michael Madsen), a cowboy headed home; and General Sandy Smithers (Bruce Dern), an old Confederate in search of his missing son. Distrust and dislike runs high among this bunch of scoundrels, but whether they like it or not, the heavy snow requires they share the shelter.

Writer-director Quentin Tarantino confines this nefarious octet and waits patiently for them to kill each other. THE HATEFUL EIGHT filters Agatha Christie’s mysteries through Tarantino’s distinct sensibilities regarding violence, dark humor, cinema history, and savoring of language. In effect it is a chamber drama, just one that is bloodier, more vulgar, and angrier. It’s also as though he’s stretched the farm interrogation scene from INGLORIOUS BASTERDS into a three-hour plus film of its own. While the majority of THE HATEFUL EIGHT is bound to a single location, Tarantino finds numerous ways to explore the space and present those occupying it while keeping plenty of room for the unexpected. Much has been made of Tarantino shooting the film on 70mm and in a 2.76:1 aspect ratio, which some have shrugged off as overkill, but the wider frame and increased picture clarity are crucial to the actors’ blocking and detail awareness.

Tarantino’s preoccupation with screen violence is complicated and, depending on one’s perspective, problematic. As in his other films, he treats the bloodshed as something pleasurable to view and abhorrent, often concurrently. Perhaps more than anything else he’s made, THE HATEFUL EIGHT is concerned with that contradiction between our best and worst impulses, except here it’s under the guise of considering the difference between justice and frontier justice. If the title doesn’t make it clear that the characters are not good people, their actions should, yet it’s hard to resist the enjoyment in watching these silver-tongued devils behave horribly. Call such an attraction to depravity original sin if you like. As depicted in this film it’s very entertaining.

Extracting a clear thesis from THE HATEFUL EIGHT is a fool’s errand, although Tarantino seems to have followed DJANGO UNCHAINED with another exploration of this country’s racial history reflected in the present. Marquis’ Lincoln letter is a fantastic device for showing how he can pass in a society that is largely unaccepting of him because of his skin color. His anguished cry of “wake up white boy” near the film’s end echoes across the generations. With Tarantino’s work the subtext tends to be secondary to more immediate satisfactions and more muddled too. Still, it’s hard to ignore the seething rage in THE HATEFUL EIGHT behind the humor and impeccably lit images.

Grade: A-

Daddy's Home

DADDY’S HOME (Sean Anders, 2015)

As a relatively new stepfather to two kids in DADDY’S HOME, Brad Whitaker (WIll Ferrell) wants nothing more in the world than for the children to accept him as a paternal figure. It seems that his relationship with Dylan (Owen Vaccaro) and Megan (Scarlett Estevez) is finally reaching that point. Dylan wants to speak to him about his problems with a bully, and Megan asks him to accompany her to a father/daughter dance. When the kids’ biological father Dusty (Mark Wahlberg) calls Sara (Linda Cardellini), their mom and his ex-wife, to say that he’s coming for a visit, she resists the idea, but Brad welcomes the opportunity for him to maintain a role in Dylan and Megan’s lives.

It doesn’t take long for the mild-mannered, smooth jazz radio executive to understand why Sara expressed concerns about inviting his cool, fit counterpart into their house, yet Brad continues to give Dusty the benefit of the doubt even when he’s actively undermining his authority at home and upstaging him at work. Their competition for the affection of the kids escalates to absurd measures. More critically, it strains Brad and Sara’s marriage, which was Dusty’s intention all along.

DADDY’S HOME seeks to mine a stepfather’s insecurities and desire for total acceptance in a family in the way that MEET THE PARENTS found humor in wanting to impress future in-laws. While Ferrell’s Brad starts on a firmer foundation, he’s like Ben Stiller’s MEET THE PARENTS protagonist in that both face off with hostile, more stereotypically masculine men fending them off as perceived interlopers. Brad’s situation may be more specific than one about the universal anxiety in wishing to gain approval from a significant other’s parents, but what he struggles with is not significantly different than any outsider striving to get inside a group.

The opportunities to satirize the degrees to which an adoptive and biological father will passive-aggressively and nakedly combat for supremacy are seemingly countless, yet DADDY’S HOME contains about enough ideas to fill a film trailer. Although there’s some amusement in expected scenes of gift-giving one-upmanship and handyman prowess or lack thereof, the film lacks imagination. Dusty’s less showy efforts to erode Brad’s reputation, like his insinuations of racism, tend to be funnier than the more obvious gags.

The film’s stylistic tug of war is waged between the heart-warming, all-ages comedy it wants to be and the nasty streak residing in the hearts of its adversaries. DADDY’S HOME feels as though it’s restraining Brad and Dusty from unleashing hell on each other and, in its relative politeness, mutes the humor in their clashes. Ferrell has his moments as he tries to be a good sport while being humiliated. Wahlberg can be funny playing a caricature of male ruggedness and unflappability. DADDY’S HOME just doesn’t let them run as wild as they could and suffers for it.

Grade: C

Sisters

SISTERS (Jason Moore, 2015)

Amy Poehler and Tina Fey are funny, likeable performers, but they can’t appear in a film and make it golden by sheer force of personality. It feels as though that’s what is being asked of them in SISTERS, a slack comedy that wagers the audience will be tickled enough by seeing them behave irresponsibly and hearing them deliver a good one-liner every now and then. Their rambunctious dispositions shine in moments, like during their shameless, suggestive flirtation with a guy landscaping his yard and when they are confronted by an old school acquaintance they didn’t invite to their bash. Fey and Poehler’s characters, the Ellis sisters, know they possess power in the situations and aren’t ashamed to wield it with authority. SISTERS clicks when their naughty streaks emerge because they’re the aggressors and flails when the Ellises’ recklessness is like a party trick they’re called upon to impress everyone with.

Poehler plays the younger sister Maura, a divorced nurse who is preternaturally nice to seemingly everyone she encounters. Not only is she upset when her parents (James Brolin and Dianne Wiest) inform her that she and her older sister Kate (Fey) need to return to Orlando to clean out their bedrooms because they’re selling the family home, but it’s also put upon her to share the news with her irresponsible sibling. Maura gets Kate to accompany her on a trip to Florida without providing the underlying reason. The unemployed and virtually homeless Kate is happy to get out of town. When they arrive at their childhood home, they discover that their parents have already sold it.

If the sisters have to accept that a part of their past will no longer remain in family ownership, then they intend to say goodbye with a massive final party at it. They invite old high school friends, many of whom welcome a break from domestic predictability and a chance to relive their youthful recklessness. Maura and Kate agree to switch roles from when they were teenagers, with the younger sister free to cut loose and and seduce neighbor James (Ike Barinholtz) while Kate keeps a watchful eye on her and their guests. Things get out of hand, though.

Longtime SATURDAY NIGHT LIVE writer Paula Pell’s SISTERS screenplay lacks sting. Even as it trots out some vulgarity intended for shock value, it produces less of a zap than the static discharge after rubbing one’s feet on the carpet and touching a doorknob. The mushy quality to the jokes reflects how a comedy sketch writer pressed against deadline turns to the easiest punchlines than funnier options that need more time to be worked on. The scenario is set up and resolved rather quickly, leaving an enormous amount of time devoted to the party itself. These scenes of suburbanites shedding their inhibitions seem to last forever with diminishing comedic returns.

SISTERS’ underlying message is similar to NEIGHBORS regarding coming to terms with one’s age in life, but who cares about what a film is saying when everything wrapped around it is thoroughly mediocre? Poehler and Fey emerge unscathed from the lackluster film, even though this stands as yet another deflating reminder of the uninspired state of mainstream film comedy.

Grade: C-

Concussion

CONCUSSION (Peter Landesman, 2015)

Pennsylvania’s Allegheny County Coroner’s Office seems like an unlikely place for a challenger to the National Football League to emerge, yet that’s where Dr. Bennet Omalu (Will Smith) makes an important discovery in CONCUSSION. The Nigerian immigrant and absurdly well-educated neuropathologist has no particular interest in or objection to the American sport until he performs an autopsy on former Pittsburgh Steelers great Mike Webster (David Morse). Omalu believes that repeated blows to the head are responsible for causing the early dementia Webster experienced. He publishes his findings on chronic traumatic encephalopathy, or CTE, and naϊvely believes the NFL will be grateful to learn about risks to their players’ health.

Fair or not, CONCUSSION does not compare favorably to SPOTLIGHT, another recent process film about exposing a systemic problem that leaders have hidden or ignored. CONCUSSION well-assembled but indistinct scenes of research in the first half show Omalu working at personal and financial cost to find out why professional football players are exhibiting such unusual psychological distress that result in premature deaths. He pursues the answer to a question not being asked and arrives at a conclusion that could threaten a hugely profitable corporation. When it sticks to the work Omalu does in the morgue and at his kitchen table, CONCUSSION grants a glimpse into the thankless efforts that go into producing such a study.

After Omalu and colleagues have published, CONCUSSION falls prey to the trap of needing to make the NFL into the proverbial moustache-twirling fat cat villains with pervasive menacing influence like one of James Bond’s SPECTRE foes. There are intimations that the league may have a hand in the FBI leveling trumped up charges at Omalu’s boss Dr. Cyril Wecht (Albert Brooks) to remove him from office and coming after the good doctor too. CONCUSSION also suggests the possibility of he and his girlfriend-turned wife Prema (Gugu Mbatha-Raw) being followed. Such finger-pointing and dramatic turns pull CONCUSSION into thriller territory that is at odds with the research and policy matters at hand.

CONCUSSION succeeds in showing the toll football took on some gridiron heroes and their families, but ultimately the story belongs to Omalu. Smith portrays him as a gentle and generous man, but the film and performance struggle to develop him beyond being an honorable do-gooder. Omalu’s romance with Prema generates some nice moments, especially when he talks about being an outsider, yet these scenes stray from the film’s focus.

Grade: C-

Spotlight

SPOTLIGHT (Tom McCarthy, 2015)

At the urging of new editor Marty Baron (Liev Schreiber) in SPOTLIGHT the Boston Globe’s four-person investigative reporting unit directs its attention to the story of an area priest who molested children. The team, known as Spotlight, consists of Mike Rezendes (Mark Ruffalo), Walter “Robby” Robinson (Michael Keaton), Sacha Pfeiffer (Rachel McAdams), and Matt Carroll (Brian d’Arcy James) begins work on the story in 2001 and soon learns that the abuse isn’t limited to one bad man in the Catholic Archdiocese. Rather, they uncover a pattern of institutional cover-up in which the problematic priests are moved among parishes.

SPOTLIGHT presents a thrilling examination of how journalists research and report a story. Although the film contains mystery elements, its attention is focused on the method and dogged determination to reveal the horrible truth that, in this instance, seems to have been an open secret among certain people in power. Writer-director Tom McCarthy and his co-writer Josh Singer excel at retracing the Globe reporters’ steps to connect information hiding in plain sight and gain access to documents that have been buried or removed. This may be the first and last time creating spreadsheets from rooting through old church directories can be described as compelling viewing.

Clearly the abusive priests serve as villains in SPOTLIGHT, but none of them are the ultimate targets of the reporting. To borrow video game terminology, the big boss awaiting the print heroes is the Catholic Church itself. The Spotlight team is squaring off against an antagonist without a face, yet McCarthy finds subtle ways to remind of the size and prevalence of their opponent. Cathedrals and their spires are often seen in the rear of shots as if ominously looming over the city and across the street from the publication. Church bells are heard in the background, one more indication of how it permeates the community.

The members of the investigative unit identify as Catholic, even if they may not be practicing. The majority of their newspaper’s readership is Catholic too. McCarthy and Singer do well at using the coded language groups employ to stress and enforce rightly held attitudes among those within a circle. The screenplay and the actors are also on point in demonstrating how reporters have to talk, almost as confessors, to their interviewees so they can extract key information. As a process film, SPOTLIGHT is exemplary.

Grade: A

In the Heart of the Sea

IN THE HEART OF THE SEA (Ron Howard, 2015)

IN THE HEART OF THE SEA tells the story purported to have inspired Herman Melville’s MOBY-DICK. The author (Ben Whishaw) shows up in the film’s framing device as he interviews an old Tom Nickerson (Brendan Gleeson), the last survivor of the 1820s tragedy when a whale destroyed the ship the Essex. In the flashback scenes Tom (Tom Holland) is a boy who finds work on a whaling vessel along with experience-challenged captain George Pollard (Benjamin Walker) and first mate Owen Chase (Chris Hemsworth).

IN THE HEART OF THE SEA has the basics for a rip-roaring adventure yarn with the chase for magnificent beasts of the ocean and fight for survival in dire circumstances, but director Ron Howard and screenwriter Charles Leavitt are not able to locate a center for this incredible story. Although Tom is speaking with Melville, Hemsworth’s brawny sailor functions as the default main character, leaving the storyteller as a supporting player in his own life’s narrative. It’s likely why there’s a curious distance between the action and the emotional current. In his telling Tom doesn’t create much of an inner life for himself as a young man, let alone Owen or any of the various seamen aboard the Essex.

Howard demonstrates more interest in the day-to-day operation of whaling expedition. The most exciting sequence comes as the men capture and kill their first whale on the voyage. Howard pinpoints the dangers, from occupying tiny boats beside the enormous creatures to needing to allow for enough rope to a harpooned whale so it doesn’t drag them to their doom, and the disgusting reality of disassembling a whale into its saleable parts. It’s fascinating to observe what was required to succeed in this kind of living.

Toward the end IN THE HEART OF THE SEA strives to achieve meaning of some kind, but the attempt feels tacked on to a story that has never quite understood what or who it is about. The seafoam green visual palette, water level shots, and heavily scarred CGI whale add some verve to what is otherwise a frustrating account of tragedy.

Grade: C

The Night Before

THE NIGHT BEFORE (Jonathan Levine, 2015)

Fourteen years ago Isaac (Seth Rogen) and Chris (Anthony Mackie) took out their grieving friend Ethan (Joseph Gordon-Levitt) on Christmas Eve for a night of chemically-enhanced celebration in New York City. Ethan’s parents had died recently, and he needed a boost to his spirits. In THE NIGHT BEFORE the three made this raucous time an annual tradition, but it’s agreed that this year’s holiday revelry will be the last. The guys are in their mid-thirties, and two now have other obligations upon them. Isaac will soon become a father. Chris is enjoying the benefits of fame from a breakthrough late in his professional football career.

Ethan, on the other hand, remains adrift in menial jobs and is moody about his break-up with Diana (Lizzy Caplan). He seems reluctant to let go of the Christmas Eve debauchery, but if this will be the final year of it, he’s prepared to do it up big. Employing sticky fingers as he works in a coat check, Ethan procures passes to the Nutcracka Ball, the city’s preeminent party at a secret location. Although the friends are looking forward to an evening of mindless fun, circumstances cause them to confront their greatest fears about the future.

Although Rogen doesn’t have a screenplay credit, THE NIGHT BEFORE touches upon a theme that pops up in several of the comedies he’s starred in, NEIGHBORS in particular. Rogen and his on-screen buddies wrestle with being responsible grown-ups while wanting to hang onto the freedom and recklessness that marked their young adulthood. Rogen’s Isaac has been taking impending fatherhood seriously, so his wife Betsy (Jillian Bell) grants him a free pass--and gives him a box of random drugs--for the good and supportive behavior he’s demonstrated through her pregnancy. Rather than letting Isaac cut loose, the permission to be irresponsible makes him face up to his anxieties about the major life changes that await and for which he feels ill-prepared. Filled with existential panic while in an altered state, Rogen is funny as he tries to keep his composure while high as a kite at Midnight Mass and in front of a friend’s mother.

As the guys’ pot supplier Mr. Green, Michael Shannon counters Rogen’s hysterical energy with a dry wit filtered through a typically intense performance. Mr. Green and his product serve a purpose akin to the ghosts in A CHRISTMAS CAROL, making Shannon ideal as someone whose presence indicates menace streaked with ribbons of humor to help his clients’ get through their cloudy mental states.

While THE NIGHT BEFORE produces a decent share of funny moments, it runs into a fair number of bumps in the road. Director Jonathan Levine and his co-writers can’t quite find the right mix of outrageous humor and dramatic material. Ethan is kind of a downer as the adventure goes deep into the night. The film’s hedonistic attitude gets tempered as THE NIGHT BEFORE advances toward a sentimental conclusion. That’s par for the course for films like this one, but it makes for a weird fit alongside Chris’s subplot regarding his steroid use to become a star toward the end of his football career. Like a sampler box of chocolates, some of it is good, and some is better left untouched.

Grade: C

Creed

CREED (Ryan Coogler, 2015)

CREED’s Adonis Johnson (Michael B. Jordan) is the product of an affair and never knew his father, so he has plenty of conflicted feelings about the man the world knew and loved as heavyweight champion boxer Apollo Creed. Rather than going by his mythological name, he prefers to be called Donnie and doesn’t trumpet his heritage. He inherited physical gifts from his father, though, although he exhibits them on the sly by fighting on the weekend in Mexico than in a recognized organization.

Donnie decides that he must follow his heart to be a boxer, so he moves from Los Angeles to Philadelphia and tracks down Apollo’s old rival and friend Rocky Balboa (Sylvester Stallone) in the hope that this other boxing legend will train him.

As the seventh film in the ROCKY series, it would stand to reason that CREED might play like a retread. Instead co-writer and director Ryan Coogler delivers a familiar but dynamic offshoot. CREED takes a comfortable position in the tradition of these underdog sports movies and builds upon it. The story beats are similar, yet as a character study of a different up-and-comer and an icon who moves from inside ring to the corner, it is surprisingly affecting. Stallone, who did not have a hand in writing a ROCKY-related film for the first time, is critical to the film’s emotional tug. Rocky isn’t the last of his kind but is the last from his circle, and in part CREED is about coming to grips with that. Stallone plays Rocky with a sadness about him. He isn’t looking to regain past glories. He misses the people who used to be around him, not the titles. Stallone wears the heartache well, revealing the soft spots inside the warrior’s body he still possesses. Coogler conveys Rocky’s melancholy with subtle touches. Paulie’s old room in Rocky’s house remains the way it was when he died. Rocky keeps a folding chair in a tree at the cemetery, a sign that he’s a regular visitor at his trainer and wife’s graves.

Although it’s inevitable that CREED will build up to a big fight, Coogler is more interesting in Donnie’s internal struggle to reconcile where he comes from and who he is. The fight is with himself, which Rocky wisely points out in a training exercise in front of a mirror. Jordan plays Donnie as someone at once confident in himself and insecure about a background over which he had no control.

The emotional beats achieve the strongest reactions, whether between fighter and trainer or Donnie and Tessa Thompson’s Bianca, a singer that he falls for. Still, the boxing scenes pack their share of thrills, especially Donnie’s first billed fight that Coogler stages in a single unbroken shot. The technique dazzles while serving a dramatic purpose of understanding what it feels like to step into the ring for a first professional fight.

Grade: A

The Good Dinosaur

THE GOOD DINOSAUR (Peter Sohn, 2015)

THE GOOD DINOSAUR considers what might have happened if the extinction event that wiped out the dinosaurs never occurred. In the animated film’s imagined millions of years after the devastating meteor misses Earth, talking dinosaurs have developed agricultural practices while non-verbal humans in roaming packs are among the pesky critters that try to swipe their stockpiled food. Arlo (Raymond Ochoa), an undersized apatosaurus among his two siblings, is tasked with catching and eliminating the pest. The feral boy is caught but gets away, leading Arlo’s father (Jeffrey Wright) to take the youngster in search of the thief and finish the job.

A flash flood sweeps away Poppa, so a grieving Arlo blames the boy for his father’s death. When he turns up again, Arlo shows no restraint in chasing after him, but he gets knocked out while in pursuit and awakens far from home. The boy proves to be Arlo’s means for surviving, as he provides him with food and protection. He shows dog-like loyalty to the dinosaur, thus leading to Arlo naming him Spot (Jack Bright). He’ll need the help as they encounter fierce creatures on the long journey home.

For better or worse, a new Pixar film bears the weight of expectations of being nothing less than great. With its visual elements THE GOOD DINOSAUR lives up to the high standards set by its predecessors. The natural scenery’s photorealistic rendering captures the beauty of land, vegetation, and geological formations untouched by civilization. It’s astonishing to compare how far computer animation has come since TOY STORY was released in 1995. Director Peter Sohn uses some lovely visual storytelling too, especially in the scene with Arlo and Spot finding a common language through sticks and sand to share their tragic family backgrounds.

As great as THE GOOD DINOSAUR is to look at, the story is a jumble of scenes in which a fearful dinosaur child matures through a daunting quest home. Arlo wanders through this archetypal western tale without clear markers of progress or picking up notable supporting characters. The narrative just sort of ends without any awareness of how close he’s getting to the homestead. The biggest threat on the journey come in the form of a trio of pterodactyls who aren’t as good-hearted as they initially seem. These nasty beasts introduce a fair amount of terror to their scenes but are in the film for so little time that their impact is diminished.

THE GOOD DINOSAUR doesn’t shy away from the hostile nature of the world and those encountered in it, which may make the film scarier for younger viewers than might be anticipated. Death and imminent harm hang over the film, yet the greater takeaways is the bond formed between a dinosaur and his pet boy as they face conflict. THE GOOD DINOSAUR does lighten the gravity of the situation with some loopy humor, such as Arlo and Spot’s awkwardness at bathroom time and their hallucinogenic visions after eating fruit. It’s unlikely to be anyone’s favorite Pixar film, but the majesty of its visuals and scattered idiosyncrasies are rewarding.

Grade: B-

Mr. Holmes

MR. HOLMES (Bill Condon, 2015)

93-year-old Sherlock Holmes (Ian McKellen) has been long retired to a house in the country where he tends to his bees and tries to bolster his failing memory in MR. HOLMES. It has been thirty-five years since his last case. Dr. Watson’s recounting of the matter of a man who wished for the renowned detective to follow his grief-stricken wife strikes Sherlock as a fiction lacking motive for the identified culprit, yet he struggles to recall the details of the case. He draws encouragement to keep working on the mystery from Roger (Milo Parker), the sharp and inquisitive son of his housekeeper Mrs. Munro (Laura Linney).

Sherlock is also using this time to reflect on a recent visit to postwar Japan at the request of Mr. Umezaki (Hiroyuki Sanada). Having written on the benefits of royal jelly, he has been summoned to help find the prickly ash, which, like the bees’ secretion, is thought to assist one’s memory. This encounter may have a connection with Sherlock’s past as well, although he dismisses ever knowing the man he is said to have consulted.

With Sherlock Holmes as the main character, the expectation is that MR. HOLMES will yield a good mystery. In this instance it is not so much within the case he is trying to solve but the enlightenment that he discovers regarding his nature. It is a film first and foremost about loneliness. Sherlock has devoted his life to the practice of logic, but in his current state he learns that it too has limitations. Nevertheless, screenwriter Jeffrey Hatcher includes plenty of marvelous details indicative of a larger design that can crack the drama’s secrets through Holmesian deductive reasoning.

McKellen is splendid as a brusque logician who can seem heartless with offhand remarks yet takes such apparent delight in a boy who wishes to hone his mind in a similar manner. McKellen’s eyes dance with the spark of a keen intellect underneath the elderly make-up. His Sherlock enjoys being the smartest person in the room, yet he also shows a patient teacher who becomes aware of how his cold, calculating manner requires the warmth and understanding of social courtesies.

Grade: A-

Experimenter: The Stanley Milgram Story

EXPERIMENTER: THE STANLEY MILGRAM STORY (Michael Almereyda, 2015)

In EXPERIMENTER: THE STANLEY MILGRAM STORY social psychologist Stanley Milgram (Peter Sarsgaard) studies obedience at Yale beginning in 1961. Volunteers in the experiment are given the role of teacher to a man they’ve met but who is not visible in the adjoining room during the test. This person is referred to as the learner, and he is asked to remember word pairings. If the learner supplies an incorrect answer, the teacher is instructed to give an electric shock of 45 volts. The voltage increases with wrong replies up to 450 volts. The learner is not actually being shocked but makes exclamations of pain and requests to stop, which can be heard through the wall. Although an observer in the room with the teacher will tell the participant to continue with the experiment, the teacher could quit. Milgram found that most do not. The experiment makes him famous but draws criticism that follows him through life.

EXPERIMENTER is staged as if it takes place within an artificial environment. Obvious chromakey backgrounds are used for period settings. The confines of the research space, the classroom, and other private spaces suggest the feeling that every action and utterance is presented for observation behind a one-way mirror. The muted visual strategy points to the clinical nature of this biographical portrait, although it’s not an outsider looking into who the experimental psychologist is. Sarsgaard as Milgram frequently addresses the camera directly, as if the film is the experimenter’s investigation into himself.

With this unconventional approach writer-director Michael Almereyda avoids the trappings of biopic cliches. While EXPERIMENTER touches upon Milgram’s most famous work, it isn’t a checklist of big life moments but a psychological probing of how his background and obsessions informed him to study the banality of evil. Sarsgaard conveys the seriousness of Milgram’s pursuit but retains awareness of the humor and absurdity that can emerge in such labor.

Grade: A-

The Peanuts Movie

THE PEANUTS MOVIE (Steve Martino, 2015)

THE PEANUTS MOVIE takes Charlie Brown and friends from the comics pages and traditional 2D animation to the 3D computer-animated realm, albeit with a look that is not drastically different with what is familiar from Charles Schulz’s work in strip, TV, and film form. The animation has sort of a plush toy quality about it rather than the sleek, hyperrealist plasticity that is often associated with textures in the medium. Those warmer surfaces allow THE PEANUTS MOVIE to be approached as a security blanket rather than some flashy novelty.

The film revisits many of the touchstones found in other PEANUTS properties. Charlie Brown remains a regular, angst-ridden boy who nevertheless sustains eternal hope that his day to be in the spotlight may yet arrive. His loyal dog Snoopy imagines pursuing the Red Baron in his biplane. The other kids view him as unexceptional but good-hearted. He wishes desperately to impress the little red-haired girl who moves in across the street.

The visual style goes hand in hand with the earnest, humane tone the film strikes. THE PEANUTS MOVIE is funny in a gentle way, but it’s also attuned to the fears and insecurities that children and, for that matter, adults carry. Charlie Brown fails and gets embarrassed. He worries about how things might go for him. Through it all, he displays a fundamental decency that others notice, even if they criticize and laugh at him sometimes. THE PEANUTS MOVIE recognizes these crucial aspects of Schulz’s work and renders them in a format considered more accessible to kids today.

3D animation is really the only thing that differentiates this from other PEANUTS ventures. Story-wise it feels like a greatest hits compilation rather than something new, but it’s a modest charmer that benefits from sticking to what we’re used to rather than being modernized.

Grade: B

About Elly (Darbareye Elly)

ABOUT ELLY (DARBAREYE ELLY) (Asghar Farhadi, 2009)

A weekend at a seaside villa turns tense when one member of a group disappears in ABOUT ELLY. Sepideh (Golshifteh Farahani) arranges for three couples, their kids, an unmarried friend, and her daughter’s teacher to get away from Tehran for some relaxation. Her ulterior motivation for the trip is to introduce Ahmad (Shahab Hosseini), who lives in Germany and divorced his wife, to shy teacher Elly (Taraneh Alidoosti). Although Elly appears to be having a good time, she insists that she can only stay one night. She may want to get back to her mother, who is recovering from a recent heart attack, or she may be uncomfortable with the jokes and subtle pressure to pair off with Ahmad.

When everyone realizes that Elly has vanished, the question is whether she walked to town to catch a bus or drowned trying to save one of the kids who had been playing by the shore and was pulled away by the turbulent sea. They have reason to believe that either outcome is possible, but with no body found and no way of contacting her, the answer remains elusive. As the friends scramble to determine how they should proceed in the situation, they act rashly and assign blame to one another.

The final shot of ABOUT ELLY features a car spinning its wheels as the friends try to push it out of a rut in the beach. The image rhymes with their actions throughout the film. The more effort they put into expedient resolutions of the problems they confront, the deeper they get stuck in them. Writer-director Asghar Farhadi creates the quagmire out of small lies and deceptions. This excursion is rooted in deceit. The individual untruths and misleadings may not seem problematic at the time they are uttered, but the accumulation of them forms a quicksand that tugs them further into the morass.

Farhadi’s intricate yet efficient screenplay showcases his watchmaker-like ability for setting a story in motion and having the moving pieces operate in accordance beautifully. ABOUT ELLY monitors eight adults plus kids and the dynamics among them. As it would be for Elly, a stranger among intimates, there’s a lot for the viewer to process in the introduction to these characters. Farhadi’s observational style doesn’t waste a shot in providing all of the information needed to understand the complex interactions.

The remarkable screenplay makes ABOUT ELLY seem like it could translate well to the stage, yet it boasts strengths particular to filmmaking. The roar of the sea reminds of the trouble that awaits but blends into the background until it must be dealt with. Editor Hayedeh Safiyari’s cuts from scene to scene aren’t confusing but raise some uncertainty of how the action advances from one point to the next. The technique reflects the disorientation the group feels upon realizing the mess they’ve ended up in. In a subtle but dazzling transition, the opening shot inside a charity box as money is dropped through the slot becomes light in a tunnel. Both images suggest the danger of not understanding what one thinks is seen with a limited perspective.

ABOUT ELLY debuted in 2009 but remained unreleased in the United States because of rights issues. Like Farhadi’s great subsequent film, A SEPARATION, this thriller thrives on how scenarios unravel as individuals take measures to protect their self-interests.

Grade: A