Thumbnails Nov 22

by Tony Medley

THE BANSHEES OF INISHERIN (8/10) 109 Minutes. R. Highlighted by compelling performances by Colin Farrell, Brendan Gleeson and Kerry Condon and beautiful cinematography of the bleak Irish countryside (the film was shot on location on Inishmore and Achill Island on the west coast of Ireland), this is a strange (and that’s putting it mildly), almost dark John Ford-type, film with some comedy thrown in, about two men in 1923 who once were friends and the violence that ensues, mostly psychological. Back in the day this would be a prime awards candidate. But it contains nothing woke that seem to be required in every New Hollywood film. No, it’s just an All About Eve-type of film about relationships with lots of talk, and I mean good talk. But because it ain’t woke, probably forget about Oscar®. But it holds interest for almost two hours.

Empire of Light (8/10): 119 minutes. R. The story of a troubled woman working in a large British movie theater in the ‘80s is surprisingly engrossing. Olivia Coleman continues to prove that she is one of the best actresses extant. She is buttressed by Michael Ward, who seems to me to be the new Sidney Poitier, and Colin Firth as her lecherous boss. Written and directed by Sam Mendes, this is a winner.

American Murderer (8/10): 101 minutes. R. Written and directed by Matthew Gentile, and “based on” the true story of Jason Derek Brown, this is a spot-on presentation of a charming con man sociopath, disturbingly played by Tom Pelphrey. Although Ryan Phillippe gives a wooden performance as an FBI agent, the film is bolstered by a terrific short appearance by Jacki Weaver as Jason’s mother.

Hunted (7/10): 94 minutes. R. This is yet another film based on the short story “The Most Dangerous Game,” written in 1924 by Richard Connell and published in Collier’s Magazine. This is one of the better treatments as four young hoodlums are captured by an extremely wealthy British family and turned loose on their estate to be hunted down. It is an entertaining treatment, full of tension.

THE RETURN OF TANYA TUCKER FEATURING BRANDI CARLILE (7/10): 108 minutes. R. I’m not sure why this is rated “R” unless it is because there is smoking and some references to drugs. But it should be PG-13, at the worst. Tucker was a beautiful, immensely talented little girl, young woman, and grownup woman who lived a wild life. She hadn’t recorded a song in 17 years when Grammy Award-winner Brandi Carlile contacted her out of the blue to record a new album, and this is that story. Carlile is a beautiful and talented singer/songwriter, and their bonding is poignant, even though Carlile’s constant cloying fawning attitude towards Tanya gets irritating. As it is basically the story of making the album, the film only touches on Tucker’s career in a few flashbacks, and virtually ignores her controversial matching with 44-year-old Glen Campbell when she was twenty-two, to its detriment. My main criticism, though, is a lack of music. There is some, but not nearly enough.

The Ticket to Paradise (4/10): 102 minutes. PG-13. It’s a shame that such beautiful scenery (supposed to be Bali but was filmed in Queensland, Australia) is wasted on such a trifling, inept movie, despite a sterling performance by Kaitlyn Dever, soon-to-be-married daughter of fighting divorced, disapproving parents George Clooney and Julia Roberts, whose phony laugh is still one of the most annoying things in Hollywood celluloid. This is a fruitless attempt at a screwball comedy, but writer/director Ol Parker is no Alan Dwan (1944’s Up in Mabel’s Room, 1945’s Getting Gertie’s Garter, etc.) and Clooney is definitely no Dennis O’Keefe.