Brett Garten, Movie Extraordinare
Cinematic Sommelier
5.8
Umm… I’m at a loss. I’ve seen some sick and twisted things on the silver screen, but typically there is a general direction or purpose to the chaos. Not here. You’ll want to burn the thing to the ground and salt the earth so it can’t come back after this one. If there was a deeper meaning here, they lost me at drinking bath water and necrophilia. A bridge too far in my book. Even as “shock and awe” filmmaking, it didn’t stick the landing for me.
8.4
Ridley Scott – Director of “Alien,” “Blade Runner,” “Gladiator”… and “Thelma & Louise.” AND a Hans Zimmer score!
Now that I have my film geeking out of the way – holy crap was this a fun movie! For such dark subject matter, Susan Sarandon and Geena Davis make such loveable, fun characters and an approachable story that keeps you on the edge of your seat until the very end! The premise of the film is so simple, but the story milks so much adventure out of this road trip that it’s truly mind-blowing, yet completely believable. I never once questioned whether hitchhikers really look like Brad Pitt or the reality of these two becoming national criminals over the course of a long weekend and outrunning the FBI and multiple state law enforcement agencies.
Buck up, and enjoy the ride!
9.1
A new favorite Christmas film for the yearly rotation!
This film envelopes you in a warmth that is palpable from beginning to end. I wanted to go see it a second time just to enjoy the ambiance for 2 more hours. Every single frame is steeped in unshakable charm. Each character is perfectly crafted to build and play off of each other, and get to the heart of matters of life and love that many others only dare to tiptoe around during their time on the screen. It’s a film of complicated people living for the unforeseen beauty in the complication of life. Similar to “Silver Linings Playbook” or “One Flew Over the Cuckoo’s Nest,” this film deserves every bit of critical praise and award season success it gets. From the cast, to the cinematography, to the soundtrack, this film fires on every cylinder and never lets up. I cannot recommend this one enough, and only wish it was more than a limited theatrical release that will hopefully gain traction and a possible re-release due to it’s success in home video release. As soon as I left the theater, I knew at least one of my top films of the year with this one.
7.8
Sophia Coppola really knocks it out of the park with this one. Definitely the best Elvis biopic. What it did best was wading into the complication of a toxic relationship. Too often, these stories either glorify or vilify completely, and that’s inauthentic and unrealistic. This film respects its audience enough to show the bad AND the good that keeps them both fighting to overcome the bad. There’s always a reason they stay for that long. Always a time they’re striving to return to.
The colors were a welcome change. A refined beauty that is also often missing in modern Hollywood. Filmed with an intimate cinematography that draws the viewer in more and more with each frame, as we invest in a perfectly cast storyline. Really well done!
8.4
I still prefer the book on this one, but the movie gave it a run for its money and was a work of art itself presenting this important story.
While Leo puts on another great performance (and chalks up another epic meltdown scene) alongside the truly menacing Robert De Niro, I want to call attention to Lily Gladstone as Molly Burkhart and Tatanka Means as Agent John Wren. My biggest reason for preferring the book to the movie is due to the perspective of the story being told. The book’s focus on the FBI team and the community impacted was a much more impactful viewpoint, but narratively, I understand why Scorsese went this route. The ending was a creative Hail Mary pass to tie a bow on such an unsatisfying ending to the story. There was no good way to land the plane on a story with such a lack of closure/happy ending. The thing that the film nails is the tone. You’re uncomfortable for the entire runtime, waiting for the other shoe to drop, unsure of who you can trust, sensing the pervasive danger around every corner.
It’s absolutely gorgeous in its cinematography and the overall aesthetic of the film. The editing made the three and a half runtime pass more quickly than I was expecting, but it definitely tested my back’s tolerance for a single sitting in non-recliner cinema seats. It’s definitely on of those “Hollywood couldn’t write something this insane and interesting” stories, finally making its way onto the big screen, with a perfect cast and soundtrack.
Killers of the Flower Moon: The Osage Murders and the Birth of the FBI https://a.co/d/aSIbW1M
Brett Garten, Movie Extraordinare 