Posts Tagged ‘Lukas Haas’

BABYLON: 4 STARS. “shoots for the moon in a way that few other recent films have.”

There is nothing modest about “Babylon,” the new three plus hour epic from “Whiplash” director Damian Chazelle, now playing in theatres. It is unapologetically epic in themes, in length and in sheer off-the-wall exuberance.

A multicharacter treatise on the movies and knowing when to leave the party, it is “Boogie Nights” by way of Fellini’s “Satyricon” with a dash of “Singin’ in the Rain” thrown in for good measure. Love it or hate it, and there are valid reasons for either response, it is audacious, chaotic, vulgar, and, like its leading lady, it always makes a scene.

The action begins in 1926 in Bel Air, then a dusty patch of dirt. Hollywood wannabe Manny Torres (Diego Calva) is an up-and-comer who’ll do almost anything to break into the film business. That includes the wrangling of full-sized elephant to be used as entertainment at a wild Hollywood party later that night. Pulled over by a cop who amusingly informs him, “You can’t drive an elephant without a permit,” the quick-thinking Manny talks his way out of a ticket and gets the job done.

Later, while working as security at the decadent bash, he meets Nellie LaRoy (Margot Robbie), a bombshell party girl with an attitude and a taste for cocaine and attention. “You don’t become a star,” she says. “You either are one, or you ain’t.”

She isn’t famous, but she is a star. To Manny she represents everything he aspires to be and it’s love at first sight. For Nellie it’s a chance to expose herself to the Hollywood elite and sure enough, her provocative wild child style catches the eye of a producer who hires her on the spot to replace an actress who overdosed at the party.

Meanwhile, as a live band, led by trumpeter Sidney Palmer (Jovan Adepo), blows the roof off the place, matinee idol Jack Conrad (Brad Pitt) splits with his third (Or maybe his fourth. Who’s counting anymore?) wife and is drowning his sorrows in champagne and cocktails.

As the music blares, the dancers dance, the drinkers drink, the touchers touch and the snorters snort. It’s a bacchanal, the kind of party that only could have existed before the invention of the cell phone camera and TMZ.

As the sun rises, the party breaks up. Nellie drives off, on her way to the studio to make her big screen debut, and Jack takes Manny under his wing, giving him a start in that business called show.

There is more. So much more, but “Babylon” is not a film that lends itself to a Coles Notes treatment. Put it this way, one of the stars fights a rattlesnake, surely the climax of a regular film, but in “Babylon,” there’s still two more hours of story to go.

Chazelle’s maximalist vision is gloriously off the hook. He fills the screen with overstuffed detail, creating an avalanche of images and ideas. It is, by times, unfocused and sloppy, and begins to “Babylon-and-on” near the end of the 3-hour and 15-minute runtime, but the sheer exuberance of it won me over.

A story of loving something that can’t love you back, whether it is the movies, a gig, drugs or a person, Chazelle weaves a complicated tale of the highest highs and lowest lows, of glitz, glamor and grime that examines the notion of stardom and what happens when times change.

Adversely affected by shifting tastes is former matinee idol Jack, played by current matinee idol Pitt. A king of early Hollywood, he’s a Douglas Fairbanks style action star who always gets the girl in the final reel. He believes in the power of the movies—“What I do means something,” he says earnestly.—to uplift people beginning to feel the sting of the Great Depression but as the sounds of Al Jolson’s voice begins to fill theatres, Jack is the last to realize his time at the top has passed.

Pitt finds a balance between comedy and tragedy in Jack’s character. When we first meet him, he’s a hedonistic Hollywood a-lister who embraces the town’s loose morality. Often drunk, frequently ridiculous, he’s never less than charming. As the good times evaporate and the industry he loves, and helped build, moves on without him, there is real pathos in his downfall.

“You thought the town needed you,” says gossip columnist Elinor St. John (Jean Smart). “It’s bigger than you.”

Robbie has a showier, if slightly less rich, character arc. Nellie is a rough and tumble Hollywood creature with a taste for cocaine and fame. Her rise and fall may be more predictable than Jack’s career collapse, but it is just as colorful. From all night coke binges to a vomit scene that brings to mind Mr. Creosote, she’s troubled and troubling, a person whose self-destructive motivations are only truly understood by herself. Robbie plays her as a brash and bold woman enabled by Hollywood, her youth and Manny’s unrequited love.

In a breakout performance Calva’s Manny begins his journey as an ambitious show business outlier. As he becomes an insider, Manny’s character becomes the avatar of the film’s theme of transformation.

Each of these main characters, including Adepo’s trumpet playing Sidney Palmer, are in flux. They are adrift in the winds of change, flailing about, at the mercy of public opinion and an ever-changing industry. Manny’s makeover is undoubtedly the biggest step up, mostly because he is the only character not living in the moment. “Everything is about to change,” he says after seeing “The Jazz Singer,” the first sound movie, and one of “Babylon’s” harbingers of transformation.

Pitt, Robbie, Calva, Adepo and a stacked list of supporting players, including Tobey Maguire, Olivia Wilde, Flea and “SNL’s” Chloe Fineman, among others, are given lots to do, but the real star is Chazelle. “Babylon” is big and sloppy, but Chazelle shoots for the moon in a way that few other recent films have dared.

THE VIOLENT HEART: 3 STARS. “great chemistry between the charismatic leads.”

It’s difficult to know how to classify “The Violent Heart,” a new movie on VOD starring Emmy nominee Jovan Adepo and Grace Van Patten. It’s part “Romeo & Juliet,” part thriller and mostly melodrama. Director Kerem Sanga juggles the movie’s tonal shifts to create a movie about the aftershocks of trauma.

Set in the American heartland, the story centers around twenty-four-year-old Daniel (Jovan Adepo), a small-town mechanic struggling to move forward with his life after the murder of his sister, which he witnessed, and a stint in jail for accidentally blinding a schoolmate. When 18-year-old high school student Cassie (Grace Van Patten) drops off her dad’s (Lukas Haas) car to the autobody shop, sparks fly and romance blossoms.

Despite her parent’s disapproval the young couple bring out the best in one another, sharing secrets as Cassie encourages Daniel to follow his dream of joining the Marines. Both are looking to the future but soon learn tragic lessons on how the past has a nasty way of sneaking up from behind.

“The Violent Heart” never really gets the pulse racing, but is made compelling by the chemistry between the two charismatic leads, Adepo and Van Patten.

Adepo exposes Daniel’s deep wounds, psychological trauma that manifests itself in angry outbursts. “You start to not even notice it,” he says of his deeply rooted ire. “You just kind of become an angry person.” Still, he’s a work in progress, with his eyes locked on a better future. It’s an impressive, internal performance.

Van Patten is more external, a naïve young woman whose confidence is shaken by secrets and echoes from the past.

Together they are compelling, overcoming obstacles as a couple. But when “The Violent Heart” makes a hard U-Turn from star-crossed lovers into a detective story it loses itself in the plot’s twists and turns.

The supporting cast, including Mary J. Blige as Daniel’s mother and Haas as Cassie’s dad, do what they can with underwritten roles, but they’re mostly there to provide the puzzle pieces that complete the backstory of the leads.

In the end “The Violent Heart” succumbs to melodrama, but before the climax sucks the life out of the story, it is an interesting look at legacy and how the weight of the past can slowly crush a person’s spirit.

FIRST MAN: 3 ½ STARS. “It’s a small story about a giant leap.”

We all know how “First Man” will end. No surprises there. What may be surprising is the portrayal of its titular character, American astronaut and hero Neil Armstrong. It’s a small story about a giant leap.

Focussing on the years 1961 to 1968 “First Man” introduces us to Armstrong (Ryan Gosling) as an engineer and envelope-pushing pilot. When an X-15 test flight gives him a glimpse of space he becomes obsessed with going further. When his three-year-old daughter dies of a brain tumour he turns his grief inward, throwing himself at work. Becoming a NASA Gemini Project astronaut over the next seven years he fulfils the dream of President Kennedy 1962, “I believe that this nation should commit itself to achieving the goal, before this decade is out, of landing a man on the moon and returning him safely to the Earth,” speech. Alongside Buzz Aldrin (Corey Stoll) and Jim Lovell (Pablo Schreiber), he begins a journey that will take him to the moon and back.

“First Man” is based on one of mankind’s greatest achievements and yet feels muted on the big screen. Deliberately paced, it nails the bone-rattling intensity of the early flights, the anxiety felt by the loved ones left behind as the astronauts risk everything to beat the Russians to the moon, and yet it never exactly takes flight.

Part history lesson, part simulator experience, it doesn’t deliver the characters necessary to feel like a complete experience.

Gosling is at his most restrained here as an analytical man who loves his family but is so stoic he answers his son’s question, “Do you think you’re coming back from the moon,” with an answer better suited to the boardroom than the dinner table. “We have every confidence in the mission,” he says. “There are risks but we have every reason to believe we’ll be coming back.” He is buttoned-down and yet not completely detached. His daughter’s memory never strays from his mind, even if he never discusses her death with his wife, played by an underused Claire Foy. Gosling embraces Armstrong’s fortitude but has stripped the character down to the point where he is little more than a distant man of few words.

“First Man” contains some thrilling moments but for the most part is like the man himself, stoic and understated.