Watched some great (and some not so great movies in April). Thought I’d just put down some thoughts on each.
Steve Jobs: Sorkin puts his words in the hands of Boyle, Fassbender, and Winslet. It’s a recipe for success and it achieves it. It’s a grand movie about a grand figure: asking big pictures. The one is asks explicitly “is a computer a painting” is the larger examination of what intersection, if any, there is between business and art. Jobs is the figure propped up most in the debate and the movie does a good job propelling his artistic argument: assholeish-drive for his vision, for example. Poor skills to work with those who do not understand his desire (or are too young to, in the case of his daughter). Fantastic film. Four apples of five.
The Invitation: Well made but with holes everywhere. Like a granite stone pierced with one of those fancy spy tools. Hipster mystery is a good genre that no has really named yet. 2 of 4.
All The President’s Men: Absolute classic. If Fassbender’s Jobs is a prime example of the culture of modern mail acting (takeover of character instead of tinge or interpretation)–Newman and Hoffman showcase the classic aspect. There are flaws in their people. They play humans, not characters. Extremely well done. 3.5 votes of four.
Trainwreck: Schumer’s worth the hype in her genre but how long does the cheap comic laugh? She’s best when she scorches the double standards for what they are, not when she’s delving into the peculiarities of the world those standards create. This, and many of the film’s key jokes, were that. It’s fun though, lots of laughs. Couldve given Bill Hader an open door to humor. His restrictions tie up the movie. No “granny hall” lines in here to provide an comedic paramore. Oh well. 2.5 of 4.
The Birdcage: Truly sad I had never seen this, but happy I got to see it for the first time at an older age. Don’t know if I would’ve appreciated it all in earlier years. What a comedy this is! Shakespearean. Wilde-ean? It’s a dramatic comedy of the perfect degree. Wonderful plot. Nathan Lane puts on one of the finest acting performances I’ve ever seen—comedy or not. Hank Azaria kills. Robin Williams, and this was pointed out in several articles/reviews I read, keeps his restraint almost miraculously but proves his ability to encourage comedy, not reel it into himself (which came so naturally to him). 4 flamboyant stars of 4.