INFERNO: 2 STARS
A better title for “Inferno,” the latest big screen exploits of symbology professor Robert Langdon, might have been “The Da Vinci Code: This Time It's Personal.” Not only must Langdon, once again in the form of Tom Hanks, confront an old love but he also must dig deep into his shattered memory to piece together the clues of his greatest mystery ever.
Or something like that.
The convoluted story begins with bioengineer and billionaire Bertrand Zobrist (Ben Foster) spewing his extreme theories on the planet’s problems. “Every ill on earth can be traced back to overpopulation,” he says. In the space of just twenty four hours Zobrist drops out of the picture, and Langdon is found disoriented and put under the care of Dr. Sienna Brooks (Felicity Jones). “What am I doing in Florence?” he asks. Suffering from retrograde amnesia and terrifying visions of a hellish nature, people with heads twisted back to front, seas of fire, pools of blood and serpents, he struggles to remember the events of the last forty-eight hours.
With the help of Brooks he goes on the run from a determined assassin (Ana Ularu) and the World Health Organization until he can gather the clues that will lead him to the Inferno Virus, a plague planted by Zobrist to cull the world’s population by half. “Humanity is the disease,” he cackles, “Inferno is the cure.”
Add in close calls, narrow escapes and clues hidden in Italian antiquities and you have “Inferno,” the thriller with no clue how to be thrilling. Instead it’s two hours of exposition, a lesson in Botticelli and Dante. Whatever thrills there were to be mined from David Koepp’s script are blunted by director Ron Howard’s habit of showing and telling clues and info over and over, not trusting the viewer to be able to follow along. With convoluted clues and lots of Italian names and places to keep track of “Inferno” repeats information ad nauseam.
This is the third time Hanks has played Langdon but in the fullness of time I don't think we'll look back on the symbologist as the actor’s most memorable character. He carries the movies, which have made hundreds of millions of dollars, but he's less a character then he is an exposition machine, an explainer of obscure history, a purveyor of aha moments. Hanks is a charmer, but he’s done in trying to wade through the movie’s scripting mire.
Sharing the screen is Jones, soon to be seen in “Rogue One: A Star Wars Story.” As Dr. Brooks she is Langdon’s intellectual match and one of the dual engines that keeps the story plodding along, but spends most of the film nodding in agreement to Langdon’s sudden, remarkable realisations.
As the villain Foster’s few appearances—he’s peppered throughout usually appearing in video clips, is further proof that Hollywood doesn't know what to do with this talented actor.
More fun is Irrfan Khan as the calm, cool and collected head of a mysterious group that manages risks for high profile clients. He’s deadly, duplicitous and James Bond villain suave.
The obvious joke here is that “Inferno” is clueless. But it’s not, it’s overstuffed with clues, just not thrills.
MOONLIGHT: 4 STARS
“Moonlight” is a film about a young man trying to find a place for himself in the world. “At some point you got to decide who you going to be,” says an early mentor. “Can't let anybody make that decision for you.” Director Barry Jenkins splits the story into thirds, each examining a different time in the life of Chiron, a young, gay African-American man, as he comes to grips with who he is.
At the beginning of Part I Chiron (Alex Hibbert) is ten-years-old and on the run from schoolyard bullies. His small size and meek manner have made him a target. He finds refuge in an abandoned drug den where Juan (Mahershala Ali), an anything-but-stereotypical drug dealer with a heart of gold, discovers the boy cowering in a corner. The older man becomes a mentor and surrogate father, even as he sells crack to Chiron’s mother, nurse Paula (Naomie Harris).
Part II sees Chiron’s (now played by Ashton Sanders) high school years marred by homophobic slurs and the bullying that comes along with the name-calling. His mother has fallen deep into addiction but Juan’s girlfriend, Teresa (Janelle Monáe), picks up the slack, offering a kind face, a warm meal and a clean place to sleep. The introverted teen’s first sexual experience, with his childhood friend Kevin (Jharrel Jerome), does little to take the edge off the loneliness he feels even when he is with other people.
Part III focuses on Chiron (now played by Trevante Rhodes) as a gold-grill wearing drug dealing twenty-something, pumped up but still alone. A random phone call from Kevin (Andre Holland) gives the estranged friends a chance to catch up and confront the past.
“Moonlight” is a movie that beats with a very human heart while subverting expectations with almost every scene. Jenkins has placed obstacles in the way of the story telling—multiple actors playing the same characters, and a lead who is succinct almost to the point of being mute—but overcomes those hurdles with a combination of social conscience, fine acting and interesting characters who constantly defy pigeonholing.
Mahershala Ali, an actor best known as Remy Danton on “House of Cards,” is a standout as a drug dealer who allows the personal cost of his business to weigh on him. He’s a tough guy with a heart and his performance in Part I sets a high bar which is met by Harris and all three of the young men who play Chiron.
Each deliver performances characterized by deep inner work that reveals the truth behind the façade Chiron uses as a front. There’s a remarkable consistency in the trio of performances, so by the end of the film, when Chiron is asked, “Who is you man?” his answer, “I'm me. I don't try to be nothing else,” rings true and real.
THE HANDMAIDEN: 4 STARS
Set in 1930s Korea, “The Handmaiden” is an epic story of madness, con games, double crosses, double-double crosses, kinky sex, desire and more. Director Chan-wook Park adapts Welsh writer Sarah Waters’ novel “Fingersmith,” wringing every ounce of lascivious pleasure from its sprawling story of sex and intrigue.
When Sook-hee (Kim Tae-ri) is hired as a handmaiden to the reclusive Japanese heiress Lady Hideko (Kim Min-hee) she appears to be the perfect servant. Humble and subservient, she caters to Hideko’s every whim but all is not what it appears. Turns out Sook-hee is a shill, a thief sent to the countryside estate Hideko shares with her domineering Uncle Kouzuki (Cho Jin-woong) as part of a plan to steal her inheritance. Her job is to get close to her mistress and fan the flames of love between the heiress and Count Fujiwara (Ha Jung-woo), a handsome swindler who plans on seducing, marrying and then committing Hideko to an insane asylum before making off with her fortune.
That’s enough story for most movies, but it’s only part of the first chapter of three that comprise the two-and-a-half-hour film.
Chan-wook Park’s films have never shied away from lurid, sensational imagery, and “The Handmaiden” is no different. Unapologetically erotic and convoluted, the film revels in its ridiculousness, luxuriating in every plot twist and turn. Told from multiple points of view with an ever-changing character dynamic, it demands your attention.
What begins as a con game ends as a (SPOILER ALERT) a triumph of undervalued women who use the manipulation of the men in their lives as a weapon. It’s a complicated revenge story, ripe with detail and secrets. As vaguely trashy art house cinema goes, however, it doesn’t get much more enjoyably escapist than “The Handmaiden.”
AMERICAN PASTORAL: 2 STARS
Ewan McGregor makes his directorial debut with “American Pastoral,” a crime-drama based on a novel by Philip Roth. He deftly presents nice performances from Dakota Fanning, Jennifer Connelly, Rupert Evans and Valorie Curry but tells a story that feels disjointed.
McGregor stars as Seymour 'Swede' Levov, a man with a charmed life. He was a football star in high school, married Dawn (Connelly) his beautiful girlfriend, inherited a thriving business and was blessed with a daughter, Merry (played by Hannah Nordberg as a child, Fanning as a teen). He was “Our hero, our Kennedy,” says a schoolmate.
When little Merry, aged eleven, sees a news report of Buddhist monk Thích Quang Duc burning himself to death to protest the war in Vietnam, it awakens something inside her. "Why does that gentle man have to burn himself?” she cries. “Doesn't anyone care? Doesn't anyone have a conscience?"
Cut to several years later. Merry is now a politically engaged revolutionary teenager living under her father’s suburban Old Rim Rock, New Jersey roof. She calls the president, “Linden ‘Baby Burner’ Johnson,” and heads off to meet her radical friends in New York whenever possible. “What do you care about the war?” she shrieks at her parents. “You're just contented middle-class people!”
The 'Swede,' concerned about his daughter’s behaviour, forbids her to go to the city. Instead, he suggests, why doesn’t she protest a little closer to home? When the local post office blows up, killing the postmaster, and Merry disappears the human cost of her actions becomes clear. The bomb destroys the building, kills a man and presents 'Swede’ with the first crisis of his charmed life.
“American Pastoral” is a handsome movie that tackles one of the most tumultuous times in American history. McGregor gets inside the stateside protest of the Vietnam War by keeping the story tight, focused on one family and the devastating effect of radicalism has on them and, peripherally, on the victims of Merry’s crimes. Getting inside the head of a young woman driven to push away the comfy-cosy life provided by her wealthy parents for a life on the run would be fascinating. Too bad it isn’t here. Instead, Fanning plays Merry like a petulant teen, more likely to sneak out to meet boys than blow up government buildings.
Ditto the resulting toll Merry’s actions take on her decent, hardworking parents. Dawn falls apart, ending up in hospital before taking the most superficial way out of her heartbreaking problems.
There’s an affair and some intrigue but it’s all skin deep. There are many shots of McGregor looking concerned, but the full weight of the family’s tragedy is never truly felt. It feels by times as though sections of the movie are missing, either edited out from a longer version or left unfilmed. It’s a shame because what could have been an interesting look at what happens when radicalization comes home is neutered by some Swiss cheese storytelling—lots of holes.
