Lady Bird is a beautiful and true movie

The praise for Lady Bird deserves to start with a single detail. At two points during the movie, the song “Crash Into Me” by Dave Matthews Band plays as part of integral emotional moments. It’s a bonding for Lady Bird (Saoirse Ronan) and her friend Julie (Beanie Feldstein), something that gets them into the same emotional space. It’s not just what a perfect period detail that is, but what it says about the ethos of this movie.

Dave Matthews Band is not cool. Steven Hyden talks about this at length a little more (I’m pulling this idea from him but it stood out so much I had to repurpose), but Dave Matthews Band is not the kind of band that associates with having the kind of music taste that people in teen indie movies want to have, usually opting for the references points of what people in their 30s think is cool.

But it’s absolutely the kind of music a character like Lady Bird would be into in that year in that time. Lady Bird chooses to make sure its main character feels real rather than turning her into some icon of cool, to find a reality that grounds her rather than an attempt to impress the aesthetic.

With Lady Bird, Greta Gerwig hasn’t necessarily blazed a new path, but simply made an exemplary version of a classic story by sticking to what feels real to her, by sticking to a rawer truth. The result ends up being a supremely confident debut, a warm film with a ton of life and a keen eye for those little human interactions.

Lady Bird follows Christine McPherson (Saoirse Ronan), known as “Lady Bird” the name she gave to herself. It’s a coming of age story in Sacramento in Lady Bird’s senior year, 2002-03. Lady Bird wants nothing more than to get out of Sacramento and to the East, to New York where she thinks culture is, and away from her overbearing mother Marion (Laurie Metcalf).

And that’s your premise. Gerwig wanted a picture in the mold of The 400 Blows or Boyhood and in movies like that, the premise by necessity needs to be thin. You need room to expand and breathe and find all the little tangents that life goes down. Coming-of-age is a genre that functions as collage, all the little bits pulling together into a larger snapshot.

It’s about the people, first and foremost. Lady Bird is really great about capturing the deep flaws within people who are fundamentally good, not ever letting it diminish who they are and still letting what shines about them shine, both through writing and performance.

Saoirse Ronan takes the lead here and continues to prove that she’s one of the best young Hollywood stars. Her Lady Bird performance ranges from deliberately affected, trying to be something she’s not (a side-splitting moment as she tries to slide up on Lucas Hedges’ Danny), to achingly raw, cutting through the problems of teenagedom and learning who you are with a single question. It’s a truly great performance, one I hope gets the proper attention come Awards time.

But just as good is the character on the page she’s given. Lady Bird is the kind of character only the best coming-of-age movies fine. She’s absolutely nuanced, an intelligent and thoughtful girl capable of being cutting and selfish. Navigating the line is difficult, but Lady Bird never strays into her being unlikable or unrealistically good. She’s a person, Gerwig has created someone who feels real and who helps us understand the navigation of a difficult time in life. It’s not that it’s not angst, but it’s the kind of angst people actually feel.

You could easily write similarly about everyone in this movie, there’s a deep bench of extraordinarily well-written characters performed by great actors. Lucas Hedges has an Oscar in his future, let me tell you.

The other one who deserves to be singled out is Laurie Metcalf, playing Lady Bird’s mother Marion. In a way, this is her story too. Marion is coming to grips with her child moving on and with the difficulty of realizing that you have no way to actually grapple with the person your child is becoming. Metcalf does such a wonderful job of letting everything bubble just under the surface, of layering all her lines with the subtext and giving a really knock-out performance.

It’s easiest to talk about all the dramatic elements here, all the realizations and the grappling and the good and bad people. But Lady Bird succeeds because it weaves a warm sense of humor into the whole proceedings. Always good-natured and always ebullient, think the contributions that Greta Gerwig made to the work of Noah Baumbach without his inherent darker cynicism. There’s a lot of great little moments and asides, those that make you smile and those that make you sink into your seat knowing the horrifying embarrassment from your own life that you can map onto the experience.

Look, I’m just saying that I also tried to feel smart by reading a copy of The People’s History of the United States in high school and I didn’t get that shit until last year. So I feel you Kyle (Timothee Chalamet).

And hey, Gerwig’s handling of all this is helped by the fact that Lady Bird is an incredibly finely made picture. A film that is handsomely shot, well-edited, and absolutely drenched in great period detail (given that we can now make movies in periods I lived through).

I also just have to appreciate any movie honest about financial struggle. Not making it a point, not showing “one bad day poverty” as some deep lamentation or some noble endeavor. Just there, just a part of it, just an extra obstacle to pushing through the month. Having grown up that way, I really appreciate the way Lady Bird conveys it.

Lady Bird is the kind of film that makes you excited to see the next one from an artist. A film that’s absolutely lovely, wonderfully true, a film that feels so specific that everyone can relate.

Grade: A


Saturday Night Live Season 43, Episode 6: Chance the Rapper charms his way through a solid episode

How’s the Cold Open?

Another week off from Baldwin’s Trump is another week in which I don’t have to complain about it, so let’s all be grateful for that.

Instead, we get Moffatt and Day’s Eric and Don Jr. which I could honestly watch every week. Day and Moffat’s comedic chemistry is pretty delightful and the double act of “God’s Perfect Manchild with Patrick Bateman” is the most comedically potent parody of any of the Trump associates. Moffatt’s wondrous reactions are near perfect.

The conceit of a meeting with Julian Assange is pretty thin here, McKinnon playing Assange with a barely there accent and taking a back seat pretty quickly. It’s all about the increasingly popular Eric and Don Jr. impression and the great characterizations there (the relationship between them is almost genuinely kind of sweet). Also, that Minions backpack is just too good.

There’s also something really nice about making fun of these people for being legitimate morons, not devious masterminds. Like the real world, these are people playing at being way more brilliant than they are.

Who’s Hosting?

Chance the Rapper is such a positive and charismatic musician that I’m shocked it took as long as it did for him to get in front of the camera. Having essentially gotten a test audition with a couple sketch appearances during last year’s Casey Affleck show, Chance takes the hosting gig with as much aplomb as Tiffany Haddish did last week.

Hell, perhaps even more. Chance is a shockingly polished performer here, hitting every role with as much precision and charisma as in his music with a lot of extra game and goofiness. He goes big, he goes small. If the universe is just, this should mark a recurring performer for SNL as big as Timberlake.

What Sketches Are Worth Watching?

“Rap History”

This is a sketch where the production value of it is really what helps sell the joke. Now, be clear, this is a great piece of writing and performance. Chris Redd repeatedly sliding in with “a little bit of crack in it” as well as the name DJ Grand Wizard Karate are both comedic masterstrokes. But the largely serious appearances of Common and Questlove as well as the great costuming and aged videos really make it feel like this particularly bizarre chapter from the history of Hip-Hop.

“Sports Announcer”

This one is perhaps the best show-off for Chance all night. It’s a pretty solid bit of bewilderment, never over-the-top, just wringing the comedic potential of someone in a situation they know absolutely nothing about. The ability of the writing to make everything around him sound completely impenetrable with Chance’s smart underplaying just really has this sketch singing.

“Wayne Thanksgiving”

The disproportionate socio-economic effect of The Batman is a pretty well-worn joke among comic book fans, but it’s still pretty fun to see it come up in the mainstream. Bennett’s increasingly embarrassed Bruce Wayne is the centerpiece here, but I love how everyone tells basically the same story (he broke his jaw in 3 places!). Just kind of a solidly goofy sketch that doesn’t have that “Fellow Kids” vibe a lot of SNL geek culture sketches have.

“Family Feud: Harvey Family Thanksgiving”

I’m usually not a big fan of the Celebrity Family Feud sketches, but regular Family Feud ones here really tend to work, a usually solid premise anchored by Thompson’s greatly enjoyable Steve Harvey impression. Even if you can kind of tell where this is going, Chance’s performance deserves to give you the little surprise of his back story. There’s also a wonderful Forrest Gump reference that had me rolling on the floor.

“Come Back, Barack”

Kind of a sequel to last year’s “Jingle Barack,” “Come Back, Barack” is another sketch that really works on how good the production is. The R&B song here hits all those tropes (the “I want you back, baby” song) so dead-on and all three of the performers (Chance, Kenan, and Redd) have such great comedic chemistry that it feels like an actual lost R&B group. I also love the little twist it takes during the spoken-word breakdown.

“Porn Pizza Delivery”

Hey, it’s been a while since we’ve seen this one! Bryant’s delightfully clueless child against the deliberately bizarre porn actors will never not make me laugh, Heidi Gardner fills into this one incredibly well. And man, Chance is just an absolute delight in everything he does tonight.


“Chance-giving Monologue”

This one is almost there. The song falls apart a little bit towards the end, but Chance has such cheer and skill that he sells it well past where it needs to. Musical monologues only make sense when the performer is a musician.

“Career Day”

This one has an adorable sort of energy with those right little dark touches that make a sketch like this fun, but I think it ends up riding on the same joke too long without ever deepening it and you end up just feeling like “I get it.”

Weekend Update!

Another week, another person accused of sexual assault associated with SNL that they have to address. Again, Weekend Update remains the place to do it and Jost and Che hit right up top and hit a few jokes on it. No excusing, even if they did use it as a pivot to talk about Trump’s own hypocrisy. But they’re hitting pretty hard lately with some actual good jokes. It’s just nice when Jost and Che’s chemistry is actually backed up by some solid writing.

An extended Weekend Update brought us three correspondents this week.

We’ve got McKinnon bringing back her breakout Jeff Sessions. Sessions is basically non-human at this point, a possum wearing person skin. Seeing her twist her way around the shady lies and attempted folksy charm of Sessions is always a delight and the increasingly disturbing details added to his body and his character have given this character a little more life than you might expect.

After that is Kyle Mooney’s Bruce Chandling, who is definitely an acquired taste, an anti-comedy character on a show that definitely doesn’t indulge in that all too often. But fortunately I’ve acquired that taste. The sublime confidence in terrible material going into deep despair is so suited to Mooney’s awkwardness that Chandling is a welcome delight.

Finally, a Pete Davidson bit, a little different this time for having Jost along for the ride. The bit is about the different reactions Davidson and Jost’s home of Staten Island have to their career, and the interplay is actually pretty sharp here, two young guys, one clean-cut and one very much not. There’s something that SNL could do with that. It’s a solidly charming bit.

Did You Actually Watch The Musical Guest?

They gave Eminem a Prince spot, so seemed worth giving it a shot. The new stuff still doesn’t work for me as much and there’s something that always amuses me about rappers with big symphonic backing. Probably because of this:


I’m gonna give Redd the shout-out. It’s always difficult for a new player to break-in and it was really impressive how much face-time he got this episode. Redd and Thompson seem to be a potent combo and he seems to vibe with the hosts well. Plus he’s just a great performer.

Kate McKinnon – 1
Aidy Bryant – 1
Cecily Strong – 1
Heidi Gardner –
Kenan Thompson – 1
Chris Redd – 1

Final Thoughts!

This is one of those episodes that while nothing really stood out, everything was delightful and really solidly written. Production and writing and performance were all fairly tight, the slack that tended to really tended to hurt the early part of this season seems gone. It also helped that Chance the Rapper hosted his ass off.

Season Rankings (Shamelessly stolen from SNL Scorecard)

  1. Chance the Rapper
  2. Tiffany Haddish
  3. Kumail Nanjiani
  4. Gal Gadot
  5. Ryan Gosling
  6. Larry David

Next Time: Saoirse Ronan joins U2 on the single most Irish episode of SNL ever.

Justice League is a flawed and enjoyable-enough crossing of the finish line for the DC Film Universe

Far be it from me to ever give a movie too much slack, but it’s a minor miracle that Justice League isn’t a total 12-car pile-up. After all, this is a movie that had at least 2 major creative sharp turns during the course of it with the critical failure (albeit commercial success) of Batman v. Superman and the tragedy-laced departure of director Zack Snyder to be replaced by Joss Whedon, two directors who could not have styles more worlds apart. Had it been an absolute mess, we could have simply sighed, understood, and moved on.

So again, let reiterate the petite miracle that Justice League kinda works. It is by no means a rousing success. There’s enough flawed narrative and weirdly bad CGI to make sure that this falls just short of managing to come in for a smooth landing or even a landing where it doesn’t take some damage. But a better-than-expected set of characters and a more resonant thematic work helps make Justice League something that you can at least see steering towards a much better place, finally.

Picking up in the wake of Superman’s (Henry Cavill) death, the world has fallen into chaos. Its beacon of hope-

By the way, let’s take a brief early sidebar. In this film’s attempt to essentially right the ship of DC state, one of its most jarring (but very welcome) choices is to not only change the character of Superman, but to pretend that was how we always was. He’s not the controversial, complicated (like your bad high school boyfriend), and feared figure of Batman v. Superman. He’s a corny, charming and human hero that the world mourns deeply and falls apart without. I get the need to reboot without rebooting and I’m certainly happy they did it, but it is odd.

has gone out and darkness looms overhead. That darkness is in the form of Steppenwolf (Ciaran Hinds), a general of Apokolips who has come to terraform in its vision. Standing in his way is Batman (Ben Affleck), who’s figured out the invasion is coming, and Wonder Woman (Gal Gadot), who knows the power of this ancient enemy.

Together, the two must recruit other superpowered individuals across the globe. From Aquaman (Jason Momoa), a troubled loner seeking solitude, to The Flash (Ezra Miller), an eager young man hoping to get his father (Billy Crudup), to Cyborg (Ray Fisher), a former football star who was stitched back together with mechanical enhancements after a devastating accident.

Our scrappy group of heroes is perhaps the best thing about this movie. Of our returning (that I can talk about), Gadot has such a star quality, a charismatic screen presence who’s enrapturing to follow, and her Wonder Woman is a very classical sort of superhero, with shades of that fundamental decency and belief in good that Christopher Reeve had. Affleck’s Batman is still sadly underdeveloped, but he gets more room to breathe with the ability to make a dry joke or two and lighten the character up just a little bit.

But hey, you knew that. It’s the new ones you came to see, so let’s just run down them.

Ezra Miller has been a star on the rise since Perks of Being a Wallflower and here you see what he can do in a bigger picture. He gets to play a Spider-Man role, a young hero in awe of the adults around him trying to figure out his place. The effects for him could use some work down the road, but there’s an exciting quality to a superhero who doesn’t come in ready to fight, playing more with nervous energy than many of the characters around him have.

Momoa is functionally playing Aquaman at his bro-est, think a Zack Snyder version of The Brave and the Bold’s cheesy, over-the-top-at-all-times Aquaman. It’s an enjoyable enough performance, though underdeveloped given that he’s the reluctant member, filling in a role that Batman often plays in team-ups like this. If they given him more room with his place in Atlantis, we might really see something interesting.

Fisher is the newest actor here, so naturally anything he’s gonna do is the biggest surprise. Fisher is actually really good here, giving Cyborg a little more substance than the Frankenstein monster he’s written as. There’s a cool, calm relaxed assurance to his character, something I wasn’t expecting but that Fisher really sells.

And perhaps most importantly, Justice League gets a team dynamic right. While Steppenwolf may not necessarily be the threat the movie needs (is he really that much more powerful than Ares?), there’s a sensible dynamic that brings them together. If The Avengers are a team of the personally flawed who had to get over themselves, then the Justice League (never called that in the movie) are a team of the tragic who have to move on. Each of them has lost something and they have allowed it for too long to consume them who need to save a world that has lost something and been consumed by it.

Justice League is essentially a movie about how those around us can help us move through tragedy. How the depths of despair can be escaped with a hand reaching down.

It’s a shame how much it gets right because the disastrous production got just enough wrong to keep it from really succeeding as it should be able to.

Steppenwolf may rank as one of the worst comic book movie villains period, down around Malekith the Accursed or Enchantress. His motivations are completely muddled, his threat is unclear, and the mythology behind him is only glancingly referenced, avoiding the substance an obscure villain like Steppenwolf would need. The lack of physical presence from Steppenwolf is noticeable too, an all-CGI character might be fine…

If it wasn’t for the weirdly terrible effects work in this film. I get that reshoots likely forced a lot of quick fixes, but the sheer amount of CGI might also come some way towards explaining why none of it felt focused on. Terrible green-screen, a lot of clearly visible actor replacements, maybe one of the most jarring human effects I’ve ever seen, and Steppenwolf himself looks plasticky and fake, like someone’s having an action figure fight the Justice League. Cyborg also falls victim to this from time to time, his design is just too busy to really look good. There’s a very substandard quality to something that takes up so much of this movie.

Which’d be fine if this film worked well narratively. To its credit, Justice League fixed Batman v Superman‘s pacing problems. This is a snappy, fast-paced narrative that’s always got something happening. The problem is that it’s got it happening way too fast. The jump from moment to moment can be jarring, much of the actual machinations don’t hold up to much scrutiny (I’m sure), and there’s a lot of introductions to people that only matter for a scene.

We’re given an early moment to a terrorist group led by Michael McElhatton (Roose Bolton from Game of Thrones) that Wonder Woman defeats. They get introduction, a monologue, and a whole action sequence and then are unceremoniously dropped without any explanation of why they got that much time. There’s multiple things like this throughout the film that just don’t work.

Plus your mileage will absolutely vary on the mechanics of the writing. Between Terrio and Whedon, the dialogue is…corny. This one feels like a Saturday morning cartoon more than anything else, and not necessarily the Bruce Timm cartoons. Your enjoyment of this film is really going to depend on how the film’s sense of humor works for you and how much you can get over some clunkers.

I’ll say this much. I could vibe on Justice League‘s sense of humor and the clunkers didn’t bother me much. There’s an entertainment value to this movie that works, character moments and beats and sequences that really do soar and get the fist pumping. This is the worst superhero movie this year, but it’s more the fault of the quality of the rest rather than simply the issues here.

Justice League is an enjoyable enough ride and one that steers the DC ship in the right direction. It feels like a purge of the universe that came before it and the creation of one that may be far more sustainable. One more full of heroes that want to do good and a world that is worth saving.

Objective: C
Subjective: B

A24 Double Feature: The Florida Project and The Killing of A Sacred Deer

The Florida Project

What do you do when a film whistles just past you?

The Florida Project, director Sean Baker’s tale of the disaffected and forgotten poor on the outskirts of Orlando, Florida, is by all means a work of raw and honest beauty, something wonderful and deeply humanist in a way that absolutely deserves to be as celebrated as I can imagine this film will be.

Yet I must confess that something didn’t quite hit right for me about this, didn’t take that extra step from being a great made film into be something truly special. The Florida Project is a wonderful movie, yes, but what’s missing?

It’s not the cast, for sure. It’s a largely unknown/non-professional cast minus a few familiar faces, most notably Willem Dafoe playing the manager of the motel our main characters live in.

The story revolves around children, Brooklynn Prince playing a young girl named Moonee is our star, and yet all of them feel only as affected as children do. The performances don’t have that child actor showiness, but they still retain the artificiality that children naturally have, trying to figure out words and posturings they don’t know how to use just yet. Prince is particularly extraordinary, the perfect eyes to a world of wonder.

It revolves around the adults who raise them too. Their actors are all equally extraordinary. Newcomer Bria Vinaite, playing Moonee’s mom, is a powerhouse standing right alongside Willem Dafoe, giving maybe his most likeable performance ever. These are people who feel real in their quiet desperation, in the need to just get by day by day.

All of that is thanks to the filmmaking of Sean Baker, quickly becoming one of our best filmmakers telling stories of the forgotten people. The Florida Project really is a gorgeous-looking film, finding the wonder that children must in these dirty and dilapidated urban places. There’s an honesty to it that never loses a belief in the humanity.

The film is funny and charming and really deeply affecting in how much it loves and believes in the misfits that occupy its frames. Baker knows what it means to actually care about these people like few filmmakers do, never coming down to the level of tourist.

I mean all these nice things, truly. But I want to throw back to the film Sean Baker did right before The Florida Project for a quick point of comparison.

Tangerine, his iPhone-shot film about two transgender prostitutes (Alexandra and Sin-dee) in LA during Christmas, has a moment at the very end of the film where Alexandra takes off her wig and offers it to Sin-dee while she’s cleaning her own. It’s a raw and very vulnerable and beautiful moment, something so specific and such a moment of human kindness that feels like it peels back the layer of film artifice and feels like you’re watching this real moment of kindness.

The Florida Project never really has that. There’s a similarly honest feeling to the whole film, but never the moment that really digs down to be honest and raw. And it leaves the whole film feeling as though it tells an honest story in an artificial way. Never finding that moment where it can get real. Perhaps that’s where it just barely misses my heart.

Grade: B+

The Killing of a Sacred Deer

It’s rare for any year to yield a film as divisive and distancing and engrossing and fascinating and sickening as mother! It’s even rarer for a film to yield two films that you walk out of imagining that there’s a very real chance 95% of the audience hated it. But that’s 2017 for you.

While The Killing of a Sacred Deer is certainly not as jaw-droppingly audacious as Darren Aronofsky’s middle-finger masterpiece, it’s something just as difficult and insane to grapple with, something mythological and terrifying and confusing.

It’s hard to quite grasp what happens. Colin Farrell is Steven, a successful doctor married to Anna (Nicole Kidman), an equally successful doctor, with two children. Steven has also befriended a young boy named Martin (Barry Keoghan). The two have a past that seems to revolve around the death of Martin’s father as Steven operated on him.

Martin seems to blame Steven for it, and for not marrying his mother (Alicia Silverstone) and giving him a family, and chooses to take his revenge. Steven must kill one of his family or they will all succumb to a mysterious illness that may or may not be caused by Martin. It’s unclear.

An off-putting enough premise, but filtered through the Yorgos Lanthimos (director of The Lobster) lens it becomes something truly bizarre. The Killing of a Sacred Deer seems to eschew human belief and action totally, turning them into living embodiment of the avatars of narrative. Lanthimos characters are bizarre and stiff, like a robot pretending to be human, and it makes an off-putting story into something bizarre and hypnotic.

It helps that Lanthimos has such an incredible grasp and control of what he wants to do that it keeps all that from spiraling out of control. That bizarre detachment of his character is his whole world, something perfect and pristine in arrangement and design, terrifying in its coldness and threatened by somebody who is all willingness to tear the perfection down.

Farrell and Kidman are great in this film, no surprise. Kidman is having a banner year and Farrell is having a late-career renaissance, Lanthimos’ ability to pull really reserved and mannered and complex characters out of him contributing to that. But the real surprise is Keoghan, playing perhaps the most terrifying villain of the year. He somehow manages to make his very presence unnerving, yet its hard to understand the true nature of his evil. He is something twisted and unknowable, all the scary for what we imagine he must be thinking as what is revealed.

Lanthimos has created something uneasy, something so pitch black that terror and comedy feel intertwined in the sheer ambiguous insanity of a work like this. He leaves no questions answered and seems to revel in making his viewer actively uncomfortable. A slightly-dragging second act notwithstanding, Lanthimos manages to keep such thrall over this bizarre world that you don’t mind how little he does to solve it, you suspect that was never the point.

The Killing of a Sacred Deer is perhaps one of the most deeply unsettling things you’ll see this year (besides the aforementioned mother!). Its actual value is certainly going to be evaluated on a personal basis but undeniable is that Lanthimos swings for the fences to create something truly dark, truly disturbing, and truly worth watching.

Grade: A

Murder on the Orient Express is a delightful but adequate retelling of an old tale

On one hand, Murder on the Orient Express is a story so basic with an ending so known at this point that I don’t even have to summarize what’s going on because basically everyone else knows and because of that it makes impossible to justify doing yet another big budget version.

On the other hand, Kenneth Branagh’s mustache has a mustache.


At a fundamental level, Murder on the Orient Express really only ever amounts to a Kenneth Branagh vanity project that some famous folks agreed to come along on. Branagh wanted to play Hercule Poirot, 20th Century Fox wanted a live-action fall 4-quadrant hit, and everyone else wanted a paycheck.

But you know, there have absolutely been worse reasons to make a movie.

I think it’s become apparent I’m of two minds on this movie, a kind of weird split drawn between my critic brain and the lizard part of my brain that just wants to be entertained. So let’s argue between them.

I said that this was a vanity project for Branagh to play Hercule Poirot and Murder on the Orient Express fundamentally conveys what must have so deeply appealed to him about playing it. Branagh’s Poirot is an absolute and total delight to watch. Not just the mustache (which is truly something else), but the absolute exacting confidence with which he plays the character. It steers away from the antisocial genius portrayals of characters like Cumberbatch’s Sherlock and makes him someone simply too connected with humanity and able to see deep into it, someone too connected with the rights and wrongs and hearts of the world. He’s the best thing by a mile and carries the movie at basically all times.

But you know, a Branagh vanity project doesn’t necessarily mean he has to do everything, not at his level. Branagh also directs Murder on the Orient Express and he certainly does able work, especially with his actors, always a specialty for a director like Branagh. But outside of some great landscape shots (thanks to the 65mm he shoots on), the film feels just too inert and stagy. It’s big-budget but it seems like it just allowed them to use a lot of CGI and green-screen to make a film that’s directed around people in a false background, a train that never actually exists or becomes a location for this story. A director who might have not needed to spend so much time in front of the camera may have been a better hand for this one.

But hey, it’s not all about Branagh. This is a cast of great actors and most of them are having a good enough time to keep watchable. Michelle Pfeiffer is having a hell of a comeback year and she’s definitely the stand-out in this one, but plenty of props deserved to the cast for putting in the effort here.

It’s just a shame that they don’t really have more to work with. The biggest problem here is that with a known quantity story like Murder on Orient Express, it’s really gonna live or die on the substance of the characters leading you through the subterfuge to make you forget you know the answer.

Yet minus Pfeiffer, no one really gets too much substance. A few big scenes here and there, but I’d be hard-pressed to recall anything about them besides the plot movements they go through. It’s hard to stand out when you’ve just not got much to work with. It’s all fine and enjoyable in the moment, but nothing leaves an impression.

Also Johnny Depp continues to be just slightly too much at any given time and Leslie Odom Jr. and Olivia Colman are both great actors who are criminally underserved in this movie.

But speaking of the already-known plot, I will say that even if the characters don’t quite nail it, screenwriter Michael Green handles the narrative fairly well. The twists and turns all feel fairly natural and the lack of audience clues feel like a feature (only Poirot can piece it together) rather than an accident. It’s easy enough to follow along and enjoyable enough to watch. It’s old-fashioned and slow in just the right way, along for a ride but never feeling overly modern in a way a story like this should be.

Though, you know, maybe there should have been some updates. Outside of a lesson about justice, it feels like the thematics here are never really dug into or updated in any real way. There’s honestly just nothing new here. The film brings up race a few times but throws it right out the door about halfway through. No real new ideas or morals or stories are injected into the text, it’s too faithful for all that.

After all that, what do I end up actually thinking of Murder on the Orient Express? It’s got great actors, but no real characters for them to play. An engaging plot that we already know with the ability to make you forget you know it but nothing under the surface to find new. A vanity project that maybe was a little too vain.

I think it all amounts to something perfectly enjoyable but nothing special. A rainy Sunday afternoon, a half-watched TBS movie while you’re preparing dinner, and a pretty agreeable movie for everyone to see during the holidays.

I had a good time! I liked it! But there’s the talent here to aspire to more.

Grade: B-



Saturday Night Live Season 43, Episode 5: Tiffany Haddish gives the show a much-needed shot in the arm

How’s the Cold Open?

What? Is this a Cold Open…without Trump? It’s a legitimate goddamned miracle.

My guess is that given some recent PR shitstorm they felt it best for Alec to take a week off and let some heat die down so that other people can actually get some attention for once.

Namely, McKinnon’s Sessions, which has steadily evolved into one of the more effective parodies with McKinnon playing Sessions as a creepy contorted goblin of a man. It’s one of those impressions that’s accurate that it gets down into the core of who the man is, not just working through his mannerisms.

We’ve also got Roy Moore (Mikey Day) who’s just pretty much doing a Southern guy in his “naughty little cowboy” outfit and using the things that Judge Moore actually said and believed to horrify us. Like the fact that he diddled teenagers. Let’s be clear about that: Roy Moore diddled teenagers. I am from Alabama, he’s been a monster for years, and he diddled teenagers.

Which should make it clear that I do wish that they would have drilled down harder. This is definitely more edged than any other political cold open has been this season, but I think a little more opening up Roy Moore and his connection with the GOP might have made this more interesting before switching into the more ridiculous Sessions monologue.

This is the sort of thing (following up on last week) that I’d like to see more. Harder-edged, less recitation of the news and more mocking of the news.

Who’s Hosting?

Tiffany Haddish was the undeniable highlight of Girls Trip, the kind of breakout performance that launched Melissa McCarthy’s career back at Bridesmaids and should launch Haddish’s the same way.

She’s really great in this episode, the kind of host that can really help a flagging season by injecting a lot of energy into a show. She’s clearly a little shaky (most stand-ups are doing live performance) but she’s so enthusiastic and so much fun to watch that she ends up papering over most of this.

It’s the kind of thing where you just remember that she could have been in the cast and weep for what might have been.

What Sketches Are Worth Watching?

“Tiffany Haddish Monologue”

Stand-up hosting always makes for the best monologues. Besides the fact that they’re the most adept at making jokes for a few minutes at a time to a crowd, it also just feels the most natural. Haddish is kind of introducing us to her style here with shoutouts to the foster system she came up in (which honestly is amazing and I didn’t know that) and gives us a taste of her confident and high-energy performing, which really ended up being what this season’s been needing. Plus she’s just damned funny here.

“Message from the DNC”

This is the other sort of thing I’d like to see more often out of SNL.

Look, I’m a leftist (quelle surprise) and I have some hardcore fucking issues with the DNC. And I understand that there’s not exactly a vanguard party coming along anytime soon to flush everything out and rebuild in my vision, so the DNC’s gotta be the framework to work in. It means that I believe there’s absolutely a need for organizations friendly to them to start addressing their issues and start angling them towards a future actually capable of reversing the massive and horrifying system issues neoliberalism and the hard right has inflicted on this country.

All this is to say is that, yeah, it’s heartening to see something like SNL take a swing at the DNC and connect. Their stagnant leadership base, the poor decision-making, and the overwhelming sense of doom that hangs over those politicians at all times is really smartly handled. Also, Strong does a great Feinstein and it’s always good to see the return of Sudekis’ Biden.

“Beck and Kyle”

The ongoing story of the great Leslie Jones/Kyle Mooney romance is one of the best recurring sketches introduced into the show last year, a dramedy blending just past the point of absurdity with a lot of surprisingly strong acting out of the cast here. This time we’ve got Bennett, introducing his jealousy at losing the attention of his long-time friend. Bennett is one of this show’s most enjoyable actors and he really sells the jealousy and the weirdness here. But Colin Jost might end up being the real star, leaning into his 80s-frat-dude persona and being really enjoyable here. Even better is him getting punched at the end by Mooney, Bennett, Jones, Haddish and even Lorne. It’s just a great little Lonely Island-ish gag.

“The Dolphin That Learned To Speak”

There is almost no way to explain this sketch that gets across how bizarre it is that they did it. The filmmaking here, emulating the documentary look, is surprisingly strong and the second the gag hits, they manage to escalate it perfectly. This is just good writing and, again, absolutely insane that they did it.

“Whiskers R We With Tiffany Haddish”

“Whiskers R We” is the kind of fun, little bizarre sketch that it seems they can do over and over again to fill time at the end of a show and will almost always work. It’s got that great little live element of trying to deal with the cats (especially that one that clearly didn’t want to be there) and the weird flirtatiousness between the two that McKinnon underplays so well. It’s just good fun.

“The Last Black Unicorn”

While the sketch was just a little too slack at times, a problem a lot of the sketches tonight had, it was really saved by the energy of Haddish and Jones together. The slow spiral down Bryant’s character’s life is really enjoyable and there’s just something about how committed everyone is that really makes the sketch work.


For the sketches that just barely work or just barely don’t work.

“Tournament Fighter”

In case you’re wondering this one just barely works. The pacing is really slack and I don’t think it ever builds up to the right big conclusion that it needed to. But Haddish’s energy is really infectious here, Kenan Thompson is an MVP of underplaying here, and I also just do appreciate the production value they’re trying to put in there. I wish it had hit a little harder, but they are trying.

What Didn’t Work?

“The Lion King Auditions”

Look, there are some really strong impressions here. By which I mean Mikey Day is doing a pretty solid John Oliver and I like Beck Bennett’s Nick Offerman and holy shit Heidi Gardner’s Kristen Schaal is the most dead-on impression that I have no clue what you would do with. But otherwise, none of the impressions are very deep and there’s not too much of a joke here.

“Get Woke With Tamika”

I really like this one as a concept, giving Leslie Jones her own Brian Fellows-esque talk show sketch. There’s some really great choices here (those sponsors) and I see how this could have been a great idea. But the execution just feels weirdly slack and it goes on way too long. Maybe they should give this one another shot.

Weekend Update!

This is definitely one of the best performances out of Jost and Che this season. The two were flying fast and furious and the jokes were generally nailing it. From the “naughty little cowboy outfit” of Roy Moore to Bob Marshall being so reviling of Danica Roem that he “refused to get within 8 points of her” to “President Miss Thing” being catty towards Kim Jong Un, Jost and Che had a strong rhythm that made it all work.

They even hit the sexual harassment stuff really, hitting three shots at SNL mainstay Louis C.K. when “everyone you’ve ever heard of is now a sex monster” and directly saying that “maybe someone who always jokes about masturbating wasn’t joking about masturbating.” It’s gonna be hard for the show to figure this out as it continues to become widespread enough to hit close to home and at least they’re trying. This is a show that has, as a rule, never been pointed, finding its pointedness is going to get hard.

Two correspondents this week, both really phenomenal comedic performances.

Strong’s Claire from HR is the one more likely to get shared around, her tornado of exasperation somehow perfectly selling everything to be felt about the current moment. There’s a lot of great lines (“14, but you’re gay now so hooray how brave” is a fucking brutal one) but that glancing

“This is you…”

“That’s me?”

“Well, it’s all of you.”

just hits so nicely without a laugh. This is just a phenomenal bit of comedy from Strong, one of this show’s best performers, that feels perfectly enraged and chaotic and exasperated in the way everything about the last few weeks and the sexual harassment/assault enema should feel.

On a much lighter note, Kenan Thompson’s LaVar Ball is just a show of how great Thompson is as a performer. He just owns the room the second he comes in and he’s so much fun to watch here. It’s even fun to watch him break because it really is so rare. That reading of “rotisserie” is A+.

Did You Actually Watch The Musical Guest?



I’m actually going with Kenan based on how much he’s working to sell the sketches tonight. He’s playing straight man here and reacting in a way that makes a lot of Haddish’s energy actually hit. And then he gets LaVar Ball as a way to show how much fun he is when he goes big.

Kate McKinnon – 1
Aidy Bryant – 1
Cecily Strong – 1
Heidi Gardner –
Kenan Thompson – 1

Final Thoughts!

Exactly the kind of episode this show needed right now. It’s a little sloppy still, but the energy is so much better and it actually feels like the show has some wind under it. Haddish was a great anchor for the show to get a little energy and a lot of the pre-taped material helped to show everybody off. It’s still a transition season, but hopefully this helps push them through into who works.

Season Rankings (Shamelessly stolen from SNL Scorecard)

  1. Tiffany Haddish
  2. Kumail Nanjiani
  3. Gal Gadot
  4. Ryan Gosling
  5. Larry David

Next Week: Chance The Rapper!

Thor: Ragnarok is an absolute delight

Taika Waititi is a genius and the fact that it took Hollywood so long to give him a large budget and free reign is a mistake that can only be rectified by giving him both of those things in the years to come.

This isn’t so much a statement inspired by Thor: Ragnarok as a statement that would have been true basically no matter what else he had done. But Thor: Ragnarok does provide central proof to my thesis being a film that sails in simply how much of a delight it is. A psychedelic, candy-coated heavy metal fantasia with a surprising layer under the surface, it’s just refreshing to sit back and have something to really enjoy. It’s still Marvel, yes, but it’s Marvel with a little extra spice.

Picking up after Thor: The Dark World and Avengers: Age of Ultron set Thor (Chris Hemsworth) on a journey through space searching for the Infinity Stones and leaving behind his home on Asgard. In his absence, his brother Loki (Tom Hiddleston) has taken on the identity of his father Odin (Anthony Hopkins) and is ruling Asgard.

Thor’s return to Asgard exposes Loki and also sets Hela (Cate Blanchett) on a war-path to retake Asgard and conquer the universe. And also sets Thor and Loki adrift in space to land on the planet of Sakaar, a world ruled by the eccentric Grandmaster (Jeff Goldblum). Thor must fight his way off the planet with the help of the roguish Valkyrie (Tessa Thompson), who has no interest in helping, and the Hulk (Mark Ruffalo), who ended up on this planet in the aftermath of Avengers: Age of Ultron and became the champion of the Gladiator games, so that he can save the people of Asgard.

You can’t talk about a film like this without talking about in the context of the larger franchise around it first and foremost. Thor: Ragnarok stands apart a little bit, as the Thor franchise sort of always has. Thor has never been the most connected character, if mostly because like the Guardians of the Galaxy his adventures take place far away from Earth.

But Thor: Ragnarok connects with its surrounding universe in slightly more substantive ways than the last two have. Not so much in plot threads (all of that’s pretty well-explained for any third movie in a trilogy in part of a massive mega-franchise), but in those nice little references that get a little extra “oomph” with their callbacks.

Take the first moment that Loki sees the Hulk in this movie, not knowing that he is the Grandmaster’s champion. Hiddleston’s sheer stomach-dropping terror is a great little touch to cut back to (considering we know what happened the last time he ran into the Hulk…)

and there’s an extra little oomph later on when Loki cheers after Hulk does the same thing to his brother. Not only for the repeat, but because we know the relationship that has been developed between Loki and Thor, that Loki feels Thor was always somewhat sheltered from the things Loki had to deal with.

There’s also storytelling that works because we’ve gotten to know these characters for so long. In the first Marvel film directed by a person of color, Thor: Ragnarok manages to seat a pretty fascinating little discussion of the legacies of imperialism and colonialism and the way our history paints over them. Hela is imperialism personified, Odin shoving her and her blood-thirsty ways under the rug and literally covering up the history of their conquest.

But it works so well because we know this world, we’ve gotten to know Odin as the kindly old father-king and we know the glowing utopia of peaceful warriors. Seeing how it was built, seeing the horrors needed to build it only has the impact because we had the history.

Thor: Ragnarok is full of those little touches, little shout-outs that feels based in the world they’ve been building. Not alienating in its density, but just character moments and jokes that work because there’s some history behind them. Think more TV show, less movie franchise.

Which could be insulting, but Thor: Ragnarok definitely isn’t scaled like a TV show. On the contrary, Thor: Ragnarok perhaps smartly scales things up bigger than the Thor films have up until now. Mainly by trading its Lord of The Rings and Game of Thrones influences for Jack Kirby, heavy metal album covers, and Heavy Metal.

While Asgard keeps its Rivendell look, a massive chunk of this film takes place in the candy-colored twisting Sakaar, filled with bizarre creatures (think Guardians of the Galaxy aliens) and towering structures. The costumes are more colorful and elaborate and the world feels more packed with detail, it’s a welcome injection of psychedelia into a franchise that’s often struggled with its identity.

It also helps that it turns out the amazing work Taika Waititi has done on a smaller scale really does translate to blockbuster filmmaking. His control of the image on the smaller scale translates to a splash-page ability on the big screen that makes a few really great compositions (there’s a shot of Thor flying across a lava planet chased by a dragon that is just *mwah*) in a franchise that often lacks visual distinction.

But more important is Waititi’s control over his actors and their chemistry and relationships. Thor: Ragnarok runs directly up to the line of comedy and it seems to let many of the long-running actors spread their wings more than anyone else.

None more than Chris Hemsworth, a comedic actor in a leading action hero’s body. Getting the chance to play a more overtly comedic character creates a more natural performance for Hemsworth and one that feels like he’s not trying so hard to occupy whoever this person is and out of that flows a much more natural conception of things like his royalty or his strength. But it also helps Anthony Hopkins, who finally feels like he’s not phoning it in, and Tom Hiddleston, who locks into the idea that it’s super funny when dignified people have comedy to them. It’s funny when a guy falls down a manhole, it’s funnier when that guy is wearing a monocle.

It’s the new supporting cast that really makes Waititi’s work stand out though. Tessa Thompson’s Valkyrie is an unabashed show-stealer, playing the fallen warrior as a Han Solo-type, slowly regaining her belief in anything. It’s pure swagger from the moment she walks on screen and Thompson’s screen magnetism is never more on display than in her brilliant opening scene.

You’ve also got the great Cate Blanchett playing Marvel villain by way of Gloria Swanson which honestly stirred up all kinds of feelings in me. She’s only slightly surpassed in her scene devouring by Goldblum’s Grandmaster, playing as much Goldblum as he can. Karl Urban does a great turn as the morally conflicted Skurge and I also absolutely must give a shout-out to Waititi himself as Korg, the quietest revolutionary.

Thor: Ragnarok is simply a firework, a burst of fun and excitement and visual delight (with a few caveats, that Norway scene oof). So worth escaping into, so worth the attention that Taika Waititi has always deserved.

Grade: A-


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