Written and directed by Paul Thomas Anderson, Licorice Pizza follows Alana Kane, played by Alana Haim, and Gary Valentine, played by Cooper Hoffman, growing up, running around and falling in love in the San Fernando Valley in 1973. The film tracks Anderson’s take on the treacherous navigation of first love.
The movie also stars Sean Penn, Tom Waits, Bradley Cooper and Benny Safdie.
Directed by Ridley Scott, House of Gucci follows the headlines of the shocking true story of the family empire behind the Italian fashion house of Gucci. The Blu-ray/DVD comb-pack is now available.
I enjoyed watching the acting, amazing talent, though the pace of the film is slow. Like Scott’s The Last Duel, too much posturing by the actors. But, this is the director and editor’s job of starting the scene later and ending it sooner. I don’t think Scott has lost his touch. Perhaps the lack of pre-screening with audiences is the cause. That we can blame on the pandemic with the closing of the movie theaters.
Costume, makeup and the production design impressed me as well. Overall, the movie sparked my interest in how a family could self-destruct. That is an interesting story to tell. I don’t think Reggiani is totally to blame.
If you want to see some talented actors, see the movie. It’s worth it.
Spanning three decades of love, betrayal, decadence, revenge, and ultimately murder, we see what a name means, what it’s worth, and how far a family will go for control.
The scandal-ridden real-life family drama House of Gucci, the latest film from Scott, the protean director of such classics as Alien, Blade Runner, Gladiator and Thelma & Louise.
Recognized and admired around the globe, Gucci is the fashion label of founder Guccio Gucci, who opened his first quality leather goods store in Florence, Italy, precisely one hundred years ago.
In the late 1970s, the story begins at a critical juncture in the famed Italian fashion empire’s history. As the Gucci family’s global reach has broadened, there are have hints of financial improprieties, stifled innovation and a cheapening of the brand. Guccio Gucci’s two sons, the colorful and wily Aldo, played by Al Pacino, and his more conservative and detached sibling Rodolfo, played by Jeremy Irons, oversee the Gucci business.
The tenacious Aldo has no intention of ceding control of the family concern, certainly not to his fanciful son Paolo, played by Jared Leto. He is more interested in becoming a clothing designer. His brother Rodolfo’s timid and overprotected scion, Maurizio, played by Adam Driver, would prefer to study law than assume the mantle of a global fashion empire.
Then Maurizio meets and falls in love with the beautiful and ambitious Patrizia Reggiani, played by Lady Gaga, and marries her against his father’s wishes. Uncle Aldo finds a kinship in the cunning Patrizia. Together, they persuade Maurizio to set aside his legalistic ambitions and join the company, thus becoming the presumptive heir — much to the displeasure of the hapless Paolo, whose design dreams outweigh his talent.
For a short time, the bad blood simmers, and the various members of the Gucci dynasty begin to co-exist. But as Gucci rivals threaten to erode their preeminent place in the quality fashion hierarchy, Patrizia goads Maurizio into staging a coup. After inheriting his father’s position in the company, the couple slowly and stealthily seizes control of the business. They connive Paolo into selling his shares by dangling false promises. And with the help of the family’s financial advisor, Domenico De Sole, played by Jack Huston, shortly after Aldo is released from prison for tax evasion, they buy him out as well.
As sole head of the company, and with a fresh infusion of financing from outside investors, Maurizio is no longer hesitant to revel in his power and the privilege it accrues. Having betrayed his family, he now turns on Patrizia and starts an affair with a childhood friend, Paolo Franchi, played by Camille Cottin.
Her ambitions are thwarted, and her marriage in tatters, Patrizia becomes panic-stricken and desperate. Maurizio files for divorce. She forges a dangerous alliance with a crafty psychic, Pina Auriemma, played by Salma Hayek.
Maurizio launches an ambitious plan to revive the Gucci name and reputation by hiring an up-and-coming American designer, Tom Ford, played by Reeve Carney. A deadly power struggle ensues, and Maurizio is besieged on two sides. The tenacious Patrizia and the company’s investors who abetted by his once trusted advisor, De Sole, attempt to wrest control of the fashion empire from the Gucci family’s hands.
Directed by the Erwin brothers, American Underdog follows Kurt Warner, played by Zachary Levi. He went from being a stock boy at a grocery store to being a two-time NFL MVP, Super Bowl champion, and Hall of Fame quarterback.
Warner’s story is about years of challenges and setbacks that could have derailed his aspirations to become an NFL player. Just when his dreams seemed all but out of reach, it is only with the support of his wife, Brenda, played by Anna Paquin, and the encouragement of his family, coaches, and teammates that Warner perseveres and finds the strength to show the world the champion that he already is.
It’s billed as an uplifting story showing that anything is possible with faith, family and determination.
The cast also includes Dennis Quaid, who plays Dick Vermeil.
“Spencer is a dive inside an emotional imagining of who Diana was at a pivotal turning point in her life.” — Kristen Stewart
Written by Steven Knight and directed by Pablo Larrain, Spencer follows Princess Diana, played by Kristen Stewart, on that fateful weekend at the royal family’s traditional Christmas celebration at Sandringham Estate. There’s eating and drinking, shooting and hunting. Diana knows the game. This year, things will be a lot different.
The marriage of Princess Diana and Prince Charles, played by Jack Farthing, has long since grown cold. Though rumors of affairs and a divorce abound, peace is ordained for the Christmas festivities at the Queen’s Sandringham Estate.
“We all grew up understanding what a fairytale is, but Diana Spencer changed the paradigm and the idealized icons that pop culture creates forever. This is the story of a Princess who decided not to become a Queen but chose to build her identity by herself. It’s an upside-down fairytale,” explains Larrain. “I’ve always been very surprised by her decision and thought it must have been very hard. That is the heart of the movie. I wanted to explore Diana’s process as she oscillates between doubt and determination, finally making a bid for freedom, not just for herself but for her children too. It was a decision that would define her legacy: one of honesty and humanity that remains unparalleled.”
Larrain needed a strong cast because it’s a character-driven story. He feels Stewart can be many things. She can be very mysterious, fragile, and ultimately decisive. “The way she responded to the script and how she approached the character is very beautiful to see. As a filmmaker, when you have someone who can hold such a dramatic and narrative weight just with her eyes, then you have the strong lead who can deliver. She is a force of nature.”
The rest of the talented cast includes Sally Hawkins, Timothy Spall and Sean Harris.
Directed by Guillermo del Toro, Nightmare Alley exposes the truth about carnie and psychiatrists, the charlatans that they are with a kaleidoscope of a tale.
“I was very interested in a story about destiny and humanity. Stanton Carlisle is a man who is given all the elements to change his life. He has people who believe in him, who love him and trust him. Yet his drive and his own hubris are so strong that they turn him away from that.” —Guillermo del Toro
Charismatic but down-on-his-luck Stanton Carlisle endears himself to clairvoyant Zeena, played by Toni Collette and her has-been mentalist husband Pete, played by David Strathairn. Stanton joins a traveling carnival, where he crafts a golden ticket to success, using this newly gained knowledge to grift the wealthy elite of 1940s New York Society.
With the virtuous Molly, played by Rooney Mara, loyally by his side, Stanton plots to con a dangerous tycoon, played by Richard Jenkins, with the aid of a mysterious psychiatrist, played by Cate Blanchett, who might be his most formidable opponent yet.
Based on the 1947 novel with the same title by William Lindsay Gresham, the monsters in this movie are people who trick others into horrific circumstances. Bradley Cooper, Cate Blanchett, Rooney Mara and Willem Dafoe star in this noir.
The story follows Cooper’s character Stanton Carlisle, a nobody, working in a small-time carnival that is not as innocent as America thinks with touches of del Toro.
“In a way, Molly is the conscience of Nightmare Alley. She tries very hard to keep Stan on the right track,” says Dale. “Guillermo has always been a believer in what an actor can convey with their eyes, and Rooney has that ability. She brings to Molly an innocence but also an increasing strength as she grows. She comes to stand in moral contrast to Stanton as loyal, spiritual, and humane.”
Though she has the thick skin and resilience of a young woman raised in the carnival world, Molly wins Stanton’s attention early on with her warmth and hopefulness. She believes he has greatness in him, enough to take a chance on him and leave behind the community she loves.
“Rooney has the most amazing tracking instinct for her character. She knew exactly where the character was, so she’s always real,” commented del Toro.
“We also went after every detail — wanted Molly to be symbolized by a deer, so she wears a little deer pendant throughout,” added del Toro. “We then have a deer in the room of the hotel, on the headboard of the bed. We referenced everything back to her.”
Stanton partners with psychiatrist Dr. Lilith Ritter, played by Blanchett, after Ritter discovers his underhanded schemes to target millionaires.
Blanchett notes that the fascination between Dr. Ritter and Stanton is not only sexual, but the chemical attraction is palpable. There is also a sense of recognition. “She’s a lone wolf, and that’s where she and Stan connect. They are both running from the past, and they can see a similarity between them.”
She continues, “Lilith is also someone who’s interested in both the practical and mystical sides of psychoanalysis, so that’s part of why Stanton intrigues her. She’s trying to work out what makes him tick, as she’s a bit of a shaman herself. Their entire relationship takes place in her office, so we thought about that set as being not just a physical space but a psychological space.”
Passion and vengeance are among the unpredictable emotions that arise in that space. “In a way, Lilith’s office is where Stan is finally vulnerable. There are a lot of destructive urges in Stan that have a parallel in Lilith. It’s a manipulative, deceitful dance between them… and these things rarely end well.”
The carnival’s manager, Clem, played by Willem Dafoe, is an old-school carny with an intimidating gruffness but willingness to give anyone their one chance. “I love this world. It’s so theatrical, full of color and drama, and perfect material for a film,” Dafoe says.
Clem is simultaneously hard-nosed and unwaveringly loyal to his own. “He has a bit of a conman in him, too, and he wants to make a dollar. But there’s a sweet side to Clem as well, where he feels responsible for his carnival family,” Dafoe says.
When Clem first meets Stanton, he identifies with him as someone who seems lost yet full of potential. “I think he sees that Stanton is a little off, he’s a little on the make, but Clem also recognizes himself in Stanton,” notes Dafoe. “A guy like Clem has been around. He’s probably done time, he’s had to scrape to get by, and he knows what that’s like, so he’s willing to help Stanton.”
Clem gives Stanton refuge, but he also demonstrates the depths of his own darkness in his harsh treatment of the carnival’s geek. “It’s pretty rough stuff, the way he creates the carnival geek,” says Dafoe.
Directed by Ridley Scott, The Last Duel follows a true story about France’s last sanctioned trial by combat. The story originates from Eric Jager’s book of the same title.
In 1386, Jean de Carrouges, a knight, played by Matt Damon, and Jacques Le Gris, a squire, played by Adam Driver came to blows to the death after Marguerite, the knight’s wife, played by Jodie Comer, accuses Le Gris of raping her, which he denies.
Watch the trailer, and you’ll see Affleck playing Count Pierre d’Alencon, donning blond hair.
If Marguerite’s husband dies, she ends up burning at stake for perjury. The winner of the duel ends up as divine providence.
According to the New York Times article, the movie forms into three chapters based on a video interview with the three writers of the movie version, Damon, Affleck and Nicole Holofcener: Carrouges story, Le Gris story and Marguerite story. The men, according to Damon, took fastidious notes while women did not because they had no public respect nor held any kind of power. Holofcener wrote Marguerite’s perspective, made of whole cloth, the book lacked the wife’s perspective.
It appears Jeremy Renner and Hailee Steinfeld star in Hawkeye. The series streams in November.
Directed by Lana Wachowski, if The Matrix Resurrections is as good as its trailers, we are in for a great franchise rebirth starring Keanu Reeves, Carrie-Anne Moss, Neil Patrick Harris and Jada Pinkett Smith.
It’s so cool that “White Rabbit” by Jefferson Airplane plays throughout the trailer. The storyline is just enough so as not to ruin the outcome.
Written and directed by Justin Chon, who also stars in Blue Bayou, it is a moving and timely story of a uniquely American family fighting for their future. New Orleans tattoo artist Antonio LeBlanc, played by Justin Chon, is a devoted family man looking to build a better life for pregnant wife Kathy, played by Alicia Vikander, and precocious step-daughter Jessie, played by Sydney Kowalske.
But for an ex-con with a checkered past, opportunity can be hard to come by, meaning money is always tight, especially with a new baby on the way. Complicating matters is Kathy’s ex Ace, played by Mark O’Brien, a Louisiana cop. He wants to play a more prominent role in Jessie’s life — despite having abandoned the girl and her mother years earlier.
When a family spat unexpectedly leads to a grocery store confrontation with Ace and his racist partner, Denny, played by Emory Cohen, Antonio is arrested and transferred into the custody of Immigration and Customs Enforcement. Despite being in America since the age of three, the Korean-American adoptee — married to an American citizen — faces deportation from the only country he’s ever known as home. Trapped in a waking nightmare, Antonio and Kathy seek legal assistance to help fight the deportation order, only to discover that they have precious little hope of keeping their family together.
With Antonio facing an uncertain future, he finds an unlikely ally and source of support in a Vietnamese-American woman named Parker, played by Linh-Dan Pham, who also is at a place where she is struggling to come to terms with a difficult truth. Determined to remain near his loved ones, an increasingly desperate Antonio forces himself to confront his past, going to ever more extraordinary lengths to stay on American soil. But the painful secrets that come to light threaten to upend his relationships with Kathy and Jessie — even as Denny resolves to seal Antonio’s fate.
As Blue Bayou took shape, the character at the heart of the emotional tale became ever more apparent to Chon, as did the importance of the film’s Louisiana setting. “One thing that was very important to me as an Asian-American is how we’re portrayed in the media,” Chon says. “A big thing for me was the name, Antonio — seeing an Asian-American with that name was very peculiar. I placed it in the South because I’ve never seen Asians with Southern accents treated as just very naturally a fact of life.”
“I placed it in New Orleans specifically because there’s a huge enclave of Vietnamese people there, and one of my goals with this film was to have two adjacent Asian ethnicities in one film. This Korean adoptee Antonio learns what his culture could be like through this friendship with a Vietnamese woman. It’s his introduction into Asian culture. They’re countries that share a lot of similar war trauma.”
Although Chon had written, directed and starred in his previous films, he initially planned to cast an actor to play the pivotal role of Antonio. When it came time to cast the part, he found that the character was simply too close to his heart to be portrayed by anyone else. “The story was so important to me that I really wanted to be present to focus on the story and the filmmaking,” he says. “But I just got to a point where I’d lived with the story for so long and these people were so real to me that I started to get very nervous. I felt like if anyone was going to mess it up, I’d be the one to mess it up. I didn’t want to be in a position where if somebody didn’t quite give it the energy that I thought was necessary that I would be bummed out, you know?”
Marc-André Leclerc climbs alone, far from the limelight. On remote alpine faces, the free-spirited 23-year-old Canadian makes some of the boldest solo ascents in history. Yet, he draws scant attention. Leclerc’s approach is the essence of solo adventure with no cameras, rope, and margin for error. Nomadic and publicity-shy, he doesn’t own a phone or car and is reluctant to let a film crew in on his pure vision of climbing.
In steps, filmmaker Peter Mortimer sets out to make The Alpinist about Leclerc but struggles to keep up with his elusive subject. Then, Leclerc embarks on a historical adventure in Patagonia that will redefine what is possible in solo climbing.