Bombshell

Rated: MBombshell

Directed by: Jay Roach

Written by: Charles Randolph

Produced by: Aaron L. Gilbert, Jay Roach, p.g.a., Robert Graf, Michelle Graham, Charles Randolph, p.g.a., Margaret Riley, Charlize Theron, p.g.a., Beth Kono, A.J. Dix

Starring: Charlize Theron, Nicole Kidman, John Lithgow, Kate McKinnon, Connie Britton, with Malcolm McDowell, with Allison Janney, and Margot Robbie.

When a young ambitious woman looking for a promotion asks whether her humiliation of showing a little more than just her legs because, ‘Television is a visual medium’, will go further than the office of Fox News’ founder Roger Ailes, he replies, ‘I’m discreet but unforgiving’.

With lines stated like this and quotes from Donald Trump like, ‘You can’t rape your spouse’, there was plenty of real-life material here to make an uncomfortable story come to life.

Bombshell is the true story surrounding Fox & Friends co-host, Gretchen Carlson (Nicole Kidman) accusation and lawsuit in 2016 (that recent people!) against Roger Ailes for sexual harassment.

Rather than an expose style of film, director, Jay Roach uses an understated telling from the two protagonists, Gretchen Carlson and what really shocked the world, Fox News correspondent, Megyn Kelly (Charlize Theron).

Gretchen and Megyn talk through the camera to the audience to feel their struggle, of whether it’s worth risking everything to stop the abuse.

Multiple women are shown in still-picture with their stories noted underneath, all with the similar tale of being asked to, ‘prove their loyalty’ to Roger (and friends) through-out their careers

We hear the thought going through the mind of Fox News correspondent Rudi Baktitar when propositioned back in 2006, where sleeping with the boss is expected to get a promotion, each thought heard before she carefully choses her response, to be kind, to say no, only to get fired.

This was the expectation.  This is the revelation of the film.

The third yet fictional character, Kayla Pospisil (Margot Robbie) is a representation of all those women put into an impossible situation of choosing between a dream career and humiliation, or losing that one chance at opportunity with dignity.

The drama of this unnerving story is in the performance – there’s nothing violent here.  Just the destruction of being bullied by those not afraid to use their power, and the mentality that powerplay over others weaker is the normal way of things.

Nothing more needs to be said than seeing the fear in a woman’s eyes before a door is closed.

I’m not sure I can say this is an entertaining film, but Bombshell is a gripping story with a particularly impressive performance from Charlize Theron as her character struggles with the decision to stand up to a bully who has ultimately been the making of her career, or to stand and voice her story of sexual pressure and to help finally put a stop to the humiliation of other women.

Without having to be too tricky with the presentation, this is a linear telling of each milestone towards Gretchen’s ultimate success, each moment fought with every last bit of strength and determination because it’s enough.

An important film, because it really is ENOUGH.

The Addams Family

Rated: PGThe Addams Family

Directed by: Conrad Vernon and Greg Tiernan

Screenplay by: Matt Lieberman, Pamela Pettler

Story by: Matt Lieberman, Erica Rivinoja, Conrad Vermon

Based on Characters by: Charles Addams

Produced by: Gail Berman, Alex Schwartz

Starring: Oscar Isaac, Charlize Theron, Chloe Grace Moretz, Finn Wolfhard, Nick Kroll with Better Midler and Allison Janney.

The Addams Family has always been about the dark and creepy; the humour based on the inversion of what is horror and terrible, think spiders being unleashed from under Morticia’s (Charlize Theron) dress to weave together a spider bridge to cross a bottomless pit… Now that’s Addams Family normal.  While all that’s sweet and rosy is awful and intolerable, is normal – see spider bridge mentioned above.

Morticia cuts the rose flower leaving the theory stem.  That’s how she likes it.  Morticia carries a pose of thorny stems as she walks down the aisle to marry her one true love, Gomez Addams (Oscar Issac), ‘To be joined in the damning void of matrimony’.  To marry in their homeland before the villagers chase away the scary couple, along with their monstrous guests and bridal party.  They must make their way to a safer place where they can be themselves, somewhere to raise a family, somewhere like the state hospital for the criminally insane.  In New Jersey.  Perfect.

#MeetTheAddams is the tagline for this new animated version, the movie the origins of the Addams, taking the story back to the beginning, to introduce the family once again with the familiar characters captured like Uncle Fester (Nick Kroll), delightful with his, ‘I think I can see my house from here.  No, that’s a women’s prison.’

And the children, the memorable murderous Wednesday (Chloe Grace Moretz) and demolition, forever-trying-to-outsmart-and-kill-his-father, Pugsley (Finn Wolfhard).

The film becomes the lead-up to Pugsley’s thirteenth birthday, to complete the Sabre Mazurka in front of all the cousins and monstrous family.  To become a man.

There’s more to this film than the inversion of what’s horror and what’s nice, there’s also assimilation and the fight against always having to be the same.  Wednesday becomes friends with a normal: Parker (Elsie Fisher).  And shows her rebellion by wearing, OMG, a pink unicorn hairclip.

So, yeah, there’s that inversion again.  But there’s also acceptance of the individual.  I like that in a movie.

Add ‘plastic’ woman, Margaux (Allison Janney) trying to re-model the abode, the casa Addams insane asylum, and you’ve got fun times and a good watch with the kids without being too childish or too adult.

Hell, it’s worth a watch just to see Lurch (Conrad Vernon) done-up like a Christmas tree.

I, Tonya

Rated: MA15+I, Tonya

Directed by: Craig Gillespie

Produced by: Bryan Unkeless, Steven Rogers, Margot Robbie, Tom Ackerley

Screenplay by:  Steven Rogers

Cinematography by: Nicolas Karakatsanis

Starring:  Margot Robbie, Sebastian Stan, Allison Janney, Paul Walter Hauser, Julianne Nicholson, Bobby Cannavale, Mckenna Grace.

‘I was loved for a minute, then I was hated – then I was a punchline.’

Based on one of the biggest scandals in sporting history, I, Tonya shows that truth can be fluid.

The film is structured around interviews with Tonya Harding (MARGOT ROBBIE), her now ex-husband, Jeff (SEBASTIAN STAN) and Tonya’s mother, Lavona (ALLISON JANNEY), when questioned about the surrounding circumstances that led to the knee-capping of rival ice skater, Nancy Kerrigan (CAITLIN CARVER).

What fascinated writer and producer, Steven Rogers about the project was just how different the stories told by Tonya versus Jeff were about the incident that ruined her career.

Tonya is candid in her re-telling of the events leading up to that fateful incident but with the contrasting perspective of Jeff, it’s hard not to question the truth of each story.

To demonstrate: the film makers show the continued falls of Tonya on the ice, her re-telling of the episodes making the excuse of her blade being incorrectly repaired and out of alignment to flash backs of her unhealthy lifestyle of smoking and downing shots.

Although it’s difficult not to question the truth of the story, what the film gives the audience is the circumstances Tonya overcame to become an ice skating phenomenon – to this day, one of only six women in the world to make the triple axel.

And she did it 25 years ago.

A feat the film makers had to use visual effects to achieve because of the immense difficulty.

Currently, there’s only two skaters in the world to have any hope of pulling off the triple axel but are unwilling to risk injury in the lead up to competing in the Olympics.

What makes Tonya’s success all the more amazing is her difficult upbringing, as she states, ‘I don’t have a wholesome American family’.

With a mother who strives to make her angry because Tonya skates better when she feels she needs to push back, Lavona is shown in interview with cigi and pet bird on her shoulder included.

The film shows Tonya suffering abuse from her mother, pushing her to the limit from four years of age, through to her teenage years where she met Jeff who continued the abuse with his fists.

When news broke world-wide of the attack on Nancy Kerrigan, I remember thinking it was Tonya who did the deed.  An incorrect assumption.   And the film shows there’s so much more to the story than petty jealousy.

Oscar-nominated, Margot Robbie gives a gritty performance, digging deep to show the true nature and character of Tonya.

The highlight for me was Allison Janney as Tonya’s mother, Lavona – her performance had to be believable so the audience could digest her bizarre behaviour.

Sometimes truth really is stranger than fiction.

And the difficulties and destructive nature of Tonya’s relationships are the humour in the film – it’s just so bad, it’s funny.

The structure of the film, with the narrative based on the interviews, to flash backs that either support or contradict what’s being said keeps the pace running – camera work of Tonya skating is used up close and personal giving a rawness and faster-paced action.

Yet, I felt I wanted just that little bit more from the script.

I was fascinated by the different perspectives and the perversion of truth.  Yet, the incident of the knee-capping itself was down-played to the extent of a one-minute shot.

What’s a knee-capping compared to the abuse Tonya suffered her whole life?

The view taken was to show the other side of the story, not what was portrayed in the media.

The truth of the story?  It’s all about perspective.

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The Girl on the Train

GoMovieReviews Rating: ★★★☆ (3.7/5)The Girl on the Train

Rated: MA15+

Directed by: Tate Taylor

Screenplay by: Erin Cressida Wilson

Based on: ‘The Girl on the Train’ by Paula Hawkins

Starring: Emily Blunt, Rebecca Ferguson, Haley Bennett, Justin Theroux, Luke Evans, Allison Janney, Edgar Ramírez; Lisa Kudrow.

Alcoholism, restlessness; hurt – The Girl on the Train is a film about the possibilities, the capabilities of someone lost.

The focus of the film surrounds the mystery of the main character, Rachel Watson (Emily Blunt) watching the world go by through the window of a train.

Sure, Rachel’s got her problems: she drinks, she lies, she has blackouts, and she wants what she can’t have.  And the audience, watching the world with her, sympathise: her heart’s in the right place – right?

But the slow reveal of Rachel’s unravelling makes us wonder just what she’s capable of.

And there lies the mystery.  What is really happening here?  Just how lost is Rachel?

The Girl on the Train is a movie of perspectives.  Of what people see compared to what goes on behind closed doors.  This is a film about what’s revealed to the audience and when.  And I think the mystery was handled well by director Tate Taylor (who won a BAFTA Award for best adapted screenplay for, Help (2011)).

I’m just going to say it – I found the book a slow read.  So for once and a rarity for me to say, the condensing of the story into a movie length narrative made for a more dramatic reveal.  The film concentrated on the main thrust of the story, of Rachel, of her illness, about her blackouts; about what actually happened on that fateful day.

No one can say that Emily Blunt can’t act, and indeed, her acting kept The Girl on the Train firmly on track.  Blunt is phenomenal in Sicario (2015), one of my favourites and I recently re-watched Looper (2012) – another fantastic movie starring Blunt.  I like her authentic, down-to-earth style and think she’s fast becoming one of the greats.  And her performance here is to be commended.

Also to note was the performance of Haley Bennett as the saucy Megan Hipwell and Justin Theroux as Rachel’s ex, Tom Watson.

In conclusion, I have to say there’s no real punch here and I wasn’t on the edge-of-my-seat, but The Girl on the Train is an absorbing mystery, shown well.

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