Shorts from The Screening Room – December 2019

In Theaters:

1917 (2019) – Director Sam Mendes (“American Beauty”, “Skyfall”) has managed to craft, along with a little photographic help from cinematographer Roger Deakins (“Skyfall”, “Blade Runner 2049”), a frighteningly tense and quietly moving war film. One that details the short but nightmarish journey of two World War I soldiers, boys actually, who must cross enemy lines in order to deliver a message that will save 1600 English soldiers from certain death.

The movie itself, while harboring a relatively simple narrative, is a technical marvel. Cinematographer Roger Deakins strikes Oscar-caliber gold here with a major photographic conceit that sees the entirety of Mendes’ film play out in one single shot. This is not true of course, but what edits do exist are cleverly masked, so the appearance of a single shot remains intact.

The effect is absolutely thrillingly too, as it allows smaller set pieces to have larger impacts.
Seamlessly interweaving its cast, production design, and practical and visual effects into the single shot conceit to ensure that the audience is never removed from the “full and inherent moment” of the film.

Actors Dean-Charles Chapman (“Game of Thrones”) and George MacKay (“Captain Fantastic”) dutifully carry the brunt of the film as the two young soldiers, and are supported by a small array of award-winning talent that includes Colin Firth, Mark Strong, Adrian Scarborough, and Benedict Cumberbatch.

Wonderfully scored by Thomas Newman, the film’s music is a welcome emotional companion throughout what’s effectively a journey alone into the known unknown.

My Admission – $9.00
One Line Review – “One Shot to Thrill Them”
MPA Rating – R for violence, some disturbing images, and language

 

 

 

Knives Out (2019) – The new film, written and directed by Rian Johnson (“Looper”, “Star Wars: The Last Jedi”), is getting a lot of press about being a great and comedic mystery. I think that’s a bit too much hype for what’s essentially a straight forward, albeit quirky, Agatha Christie-style mystery. Still, the film, while being light on comedy and void of thriller-type aspects, works well, it’s engaging and pleasant enough with perfectly fine twists though none of them take on the “shocking” adjective.

At 130 minutes, the film feels a little long but never feels like it’s wasting time. And though it’s garnered some award season nominations I can’t see it winning at the Academy Level. The cast is top notch for sure but none of the roles lend themselves to grandstanding, and the film’s mystery is not such that it keeps, or requires, audiences coming back for a double-dip.

Daniel Craig indeed surprises as the resident super-sleuth, though his character’s raison d’etre is a bit dubious, at least, in the real world I mean.

My Admission – $6.00
One Line Review – “A Solid Enough and Quirky Mystery”
MPA Rating – PG-13 for thematic elements including brief violence, some strong language, sexual references, and drug material

 

 

 

Parasite (2019) – South Korean Writer/Director Bong Joon Ho (“Snowpiercer”, “Okja”) returns with a veritable masterpiece of universal filmmaking. Winning the Palme d’Or at this year’s Cannes film festival, “Parasite” concerns a family of grifters who ensconce themselves into a well-to-do family before things take a turn towards the unexpected.

Easily the most empathetically engaging film of the year, “Parasite” puts audiences right smack into the middle of a scenario that’s not just hard to think your way out of, but that’s near impossible to not identify with. This is not so much a Hitchcock-type thriller as it is a film where the audience feels themselves participating in the “actions have consequences”-type storytelling. And none of this is done in an over-the-top or overly graphically fashion. Yes, there is violence but it’s all grounded in a fight or flight sense of reality.

The film has a universal look and appeal to it that transcends cultural barriers. This is not a film that feels foreign in any respect. Despite the language barrier, steering wheel placement, and talks of food, this film could easily be happening in your own neighborhood, to your own friends, or even in your own home.

During his Best Director winning acceptance speech at the Golden Globes, Bong Joon Ho said, “Once you overcome the 1-inch tall barrier of subtitles, you will be introduced to so many more amazing films.” He’s right, and “Parasite” is a fantastic introduction. The film is assured Oscar gold; and hopefully for more than just Best International Feature Film (formerly: Best Foreign Language Film), as Bong Joon Ho delivers so solidly here that I find him a front runner for Best Director honors from the Academy.

Note: The best film of the year gets a $9.50 rating, why? Well, I think the film takes a small, but arguably jarring, liberty with one character at the end of the film, and it effectively speed-bumped me out of the narrative. So, it’s this, and only this, decision that knocks this film out of the $10 rating. Regardless of my specific, personal take here, you’ll easily get your money’s worth from “Parasite”.

My Admission – $9.50
One Line Review – “The Best Film of 2019”
MPA Rating – R for language, some violence and sexual content

 

 

 

Star Wars – Episode IX: The Rise of Skywalker (2019) – “Star Wars Episode IX: The Rise of Skywalker” is an overstuffed mess of a movie that’s unoriginally entertaining enough, while still failing miserably as both a trilogy and franchise closer. Proving once again that J.J. Abrams, while being a king of cinematic foreplay, still can’t fuck his way out of a paper bag. Too harsh? Maybe, but allow me to explain.

To be fair, the Mystery Box loving J.J. Abrams is a master of initial ideas, high energy concepts, and creating audience interest. With 2016’s Star Wars Episode VII: “The Force Awakens”, he was able to introduce the world to a new set of Star Wars characters that were caught up in interesting, if overly familiar situations, and nostalgically touched audience’s hearts in the process. In short, Abrams is a kid who’s great at setting up his toys and convincing you to play with him. For myself, after seeing his Episode VII pitch, flaws and all, I was overjoyed and couldn’t wait to follow Rey, Finn, Poe, BB-8, and Kylo Ren on their journey through a galaxy far far away.

Enter Rian Johnson, who followed up Abrams re-engaging hit with, “Star Wars Episode VIII: The Last Jedi”. A film which, faults and all, boldly took Abrams toys and actually played with them. Ultimately taking these new Star Wars characters in decidedly unexpected directions. Directions that seemed to effectively write articles and actions of this new trilogy into stone.

I’m not going to argue with critics and fans about what Rian Johnson chose to do, but you cannot deny that he actually made strong and original choices. Choices which were not readily accepted by the series fanbase, who’s embittered backlash caused political-sized rifts between audiences, critics, filmmakers, and the fanbase alike.

Amidst the very vocal aftermath of “The Last Jedi”, the firing of three ‘in production’ Star Wars film directors, and the franchise-low financial returns of, “Solo: A Star Wars Story”, Disney and Lucasfilm head, Kathleen Kennedy, must have been wracking their simian brains wondering how best they could right the perceived wrongs done to the fanbase, the new trilogy, and ultimately to the Star Wars IP.

And apparently the “best idea” they, Disney and Kennedy, could come up with was to bring back the master of the “introduction”, J.J. Abrams, to complete the trilogy and effectively carry the Star Wars/Skywalker saga home. Which fucking astounds me because it’s been perfectly clear for years that while J.J. can handle directing a film of this size, those of us familiar with his previous work know that he’s a horrible closer; i.e. consistently failing to deliver quality rationale, original resolution, and/or appreciable endings (see: TV’s “Lost”, “Super 8”, or “Star Trek: Into Darkness” if you need references).

So, in an effort to “save the IP”, turn a profit, and protect themselves from a vitriolic cross-burning fanbase, this trinity of impaired brain-trustees wildly overcompensates. Delivering a final product in “The Rise of Skywalker” that, while juvenilely entertaining, is unoriginal in concept, ostentatiously bland, ridiculously overstuffed with fan-service, and is ultimately lacking in emotional and thematic conviction.

It’s been stated by some that Rian Johnson wrote the new Star Wars trilogy into a corner, but it’s my take that if you can’t write your way successfully out of that corner then you’re not the writer and/or director this franchise is looking for. If your best ideas revolve around spending an unprecedented amount of time ret-coning “The Last Jedi” or pandering to audiences with an overabundance of fan service, then you don’t have to chops needed to propel this Star Wars trilogy forward or to bring the Skywalker Saga to a satisfying conclusion.

Sure, “Star Wars Episode IX: The Rise of Skywalker” looks cool, sounds cool, and its main cast remains likable, but the film is far from bold and equally far from proud, ultimately taking the easy road in every way that it possibly can. If this were just another entry in a long running open-ended franchise like, “Fast & Furious”, “Transformers”, or “James Bond”, then that might be okay, but this is supposed to be the franchise closer, “The Return of the King” of the Star Wars/Skywalker story. Going the cheap and easy route is absolutely unacceptable.

Note: “Mystery Box” is a phrase coined by J.J Abrams during a 2007 TED talk and is defined as “infinite possibility” where “mystery is more important than knowledge.” Meaning that any idea is far more plausible and more readily accepted if you don’t explain it. Almost all of Abrams' projects from Lost to Star Wars have been founded on this concept.

My Admission – $5.00
One Line Review – “It’s A Mildly-Entertaining, Pandering, Ret-coning, Unoriginal, Weak As Fuck Ending to Arguably the World’s Most Iconic Franchise”
MPA Rating – PG-13 for sci-fi violence and action

 

From the Video Store Shelf:

 

Black Christmas (1974 / AMAZON) – This cult classic is an early slasher film that, by today’s standards, fails to surprise lovers of the genre, but effectively demonstrates just how far back the stage was set for their favorite frightening pastime. The film, directed by Bob Clark (“Porky’s”, “A Christmas Story”) involves a sorority house that’s plagued by a thoroughly disturbing and murderous prank caller.

While the film fails to surprise modern audiences, it is pretty impressive to look back at this one and see just how many follow-up genre films appear to utilize, and subsequently popularize, the film’s story ideas and filming methods. And what the film lacks in onscreen violence or blood it readily makes up for with its effective toned-down violence and its bizarrely savage and vulgar dialogue.

The film stars a small cache of notable actors including Olivia Hussey, Margot Kidder, Andrea Martin, Lynne Griffin, John Saxon, Doug McGrath, Keir Dullea, Art Hindle, and Leslie Carlson

Note: According to the “Trivia” section of IMDB for the film: “Nick Mancuso reprised his role as Billy’s Voice, the prank caller, for an audio commentary that appears on the 40th anniversary Blu-ray release of the film.”

My Admission – $4.00
One Line Review – “Black Christmas, I Gave You My Heart”
MPA Rating – R for violence and gore, frightening and intense scenes, language including graphic sexually related dialogue, alcohol usage, smoking, and brief nudity

 

 

 

Booksmart (2019 / DVD) – The first feature-length directorial effort from actress Olivia Wilde is, simply put, my favorite high school comedy of the decade. Engaging, adept, and charismatically toned, “Booksmart” delivers a solid and strangely grounded single night of teenage expression and exploration in 2019.

The film follows Amy (Kaitlyn Dever) and Molly (Beanie Feldstein), two studious best friends who, on the day before graduation, look to prove that they’re more than just book-smart, they’re also flawed but fun people who fit in too.

Utilizing a host of characters, the film explores the genre’s typical tropes but reins in much of the outlandish absurdity audiences are used to and replaces it with more effective emotionally teaching moments. Creating an identification and empathy that allows “Booksmart” to feel much more relatable, even in its craziest moments, than any other teen film in recent memory.

The film’s characters also fulfill the genre’s stereotypes, but by largely avoiding satire the film affords each character a greater depth and inherent compassion that’s universally uncommon in films of this type. This is a group of characters that the film not only follows but follows through on. It’s impressive, fun, and absolutely refreshing.

Note: Most surprisingly perhaps, was that the film actually makes me feel like I could navigate social high school life in 2019. It brings to the forefront a well-adjusted look at issues some audience members may fear or find difficult to deal with; i.e. gender neutrality, expressive sexuality, respect, gender support, and ultimately inclusion.

My Admission - $9.00
One Line Review – “My Favorite Teenage Comedy of the Decade”
MPAA Rating – R for strong sexual content and language throughout, drug use and drinking – all involving teens

 

 

 

The Farewell (2019 / DVD) – The fair-to-midland film, from Writer/Director Lulu Wang, is a small and thoughtful film concerning the “right” and ”wrong” of a fateful family situation. And while the film makes no major leans toward the comedic or sad angles of its situation, it does make some resoundingly strong points on the cultural differences between the East and West and how individualism can be fatal to the familial whole.

Awkwafina delivers a respectable performance as Billi, the American-raised daughter of a Chinese immigrant family. When it’s learned that Billi’s Grandmother has been diagnosed with cancer, a familial decision to keep this information from the Grandmother is universally supported by the surviving family members. This is not-so readily accepted by the American raised Billi, so there’s much for her to learn about what it means to support a family through a crisis.

The film takes it self seriously and plays out in a universally mild manner. Never leaning too far into comedy or sadness, it maintains a respectably dramatic through line without ever being overly preachy or heavy-handed with its beliefs or decision making. I applaud the film for its viewpoints and for its well delivered message, but as such, viewers should note that the film is really kind of slow and not overtly entertaining. These characters feel very much like real people dealing with a real situation in a realistic, and sometimes boring, manner. So, what will work very well for some might put others to sleep.

My Admission - $5.00
One Line Review – “The Culture Is Strong with This One”
MPAA Rating – PG for thematic material, brief language and some smoking

 

 

 

The Irishman (2019 / NETFLIX) – Martin Scorsese’s, “The Irishman” is a swift, if lengthy, mob piece that brings Robert DeNiro, Al Pacino, and Joe Pesci entertainingly back to the screen. Based on the Charles Brandt novel, “I Heard You Paint Houses”, the film details the working friendships of mobster Russell Bufalino (Joe Pesci), a union driver/mob hitman Frank Sheerin (Robert De Niro), and the Union icon Jimmy Hoffa (Al Pacino).

For a pleasurable, but not necessarily award winningly dramatic, three-and-a-half hours audiences get to watch these three icons of the crime genre deliver significant, though not ground-breaking, performances while demonstrating the brotherhood, loyalty, and brutality of commitment. I think the point here is not about being flashy or overly brash but how by being determined and honorable, one can live a long and fulfilling, though not altogether happy, life within the mob.

I wouldn’t consider this Martin Scorsese’s best work, nor do I consider it a resounding Oscar contender, but the film boasts some fantastic visual effects, in the de-aging of its central characters, and manages to be both engaging and entertaining without having to be overbearingly impactful.

My Admission – $7.00
One Line Review – “It Is What It Is. Which Means, It’s About What You’d Expect”
MPA Rating – R for pervasive language and strong violence

 

 

 

Marriage Story (2019 / NETFLIX) – Who really wants to watch a movie about the savagely uncomfortable and emotionally frustrating experiences of divorce? Gluttons or empaths, maybe? Someone who’s looking to watch their favorite actors cry? Or could it be a more astute viewer, one who’s looking to see the dramatic mettle of their favorite actor’s tested with what’s obviously painful and challenging material? I’d say, that if any of the above reasons sound appealing, then “Marriage Story” just might be a film for you.
 
“Marriage Story”, written and directed by Noah Baumbach (“Kicking and Screaming”, “The Squid and the Whale”, “Margot at the Wedding”), is not the feel-good film of the year, not even close. Instead, it’s a modestly episodic downward tumble that proves to be an acting showcase for its cast.

That cast hosts significant talent too, with Adam Driver and Scarlett Johansson as the divorcing couple. Laura Dern, Alan Alda, and Ray Liotta as their respective divorce lawyers. While Merritt Wever (“Godless”, “Unbelievable”), Julie Hagerty (“Airplane”), and Wallace Shawn (“The Princess Bride”) fill some small roles as family and friends of the divorcing couple.

Baumbach utilizes a number of lengthy and unedited dialogues to give the audience a real look at his actors completely immersed in their filmic alter-egos. Within these dialogues the cast deliver impassioned performances that see their mental and physical reactions stretch across the emotional palate; it’s consistently impressive to watch this group of actors carry their characters all the way through these scenes.

You can argue about whether the story is fulfilling to audience members or not, but I think the film’s narrative focus feels a bit loose. That could have been intentional, and I could be absolutely wrong, but “Marriage Story” doesn’t feel like it has the cohesive story and character arcs, or summated climax of a “Kramer vs Kramer”. Meaning that the film, like divorce, is a bit messier to me. Delivering it’s pain unilaterally, it’s personally redemptive moments almost too quietly, as to easily be missed by a less discerning audience, while the general “I’m Okay. You’re Okay.” outcome is clearly displayed and witnessed. I mean you really can’t miss the happier ending, but I think you’re a bit unsure as to how you got there. Maybe that’s truer to life, and easier to see if you’re writing about it, but you can ask E.M. Forster about that later.

My Admission – $6.00
One Line Review – “It’s an Actor’s Showcase First”
MPA Rating – R for language throughout and sexual references

 

 

 

Men in Black: International (2019 / DVD) – A mildly interesting but mostly entertaining expansion of the franchise that unfortunately comes undone when audiences notice that it has a discernable lack of heart.

The film stars Chris Hemsworth as H, the top London MIB Agent, while Tessa Thompson plays, M, a probationary New York Agent on her first assignment. The acting pair’s well-working chemistry (see “Thor: Ragnarok”) is in full bloom as the two agents, and agencies, work to root out a mole in the MIB.

Most people know that I’m not a fan of this franchise. I find the films a bit too zany, juvenile, and alien-icky for my tastes. But I have to admit, that by creating an entry without Will Smith and Tommy Lee Jones, the franchise gives itself an opportunity to move away from the overly slick and contrastingly dry comedy previously established and add some new voices and inclinations to the filmic universe. Hemsworth and Thompson deliver an entertaining and fresh chemistry without ever having to step into or onto their predecessors’ shadows.

Fans shouldn’t fear though, the same zany, juvenile, alien-icky look and feel of the franchise remains intact. There’s even some welcome self-deprecating humor that’s enjoyable. The real issue with the film is that it feels like its heart is missing. MIB 2 and 3 both elicited emotional reactions from their audiences by effectively tugging on some heart strings, and both were better films because of it. I was surprised to find that I liked “Men in Black: International” as much as I did, and even more surprised to find that it didn’t have the heart for me to love it more.

Note: The film is directed by F. Gary Gray (“Friday’, “Set It Off”, “The Italian Job”, “Law Abiding Citizen”, “Straight Outta Compton”, and “The Fate of the Furious”)

My Admission – $4.00
One Line Review – “It Would Be Better If Someone Hadn’t Neuralized the Heart Out of It”
MPA Rating – PG-13 for sci-fi action, some language and suggestive material

 

 

 

Once Upon a Time in Hollywood (2019 / DVD) – Writer/Director Quentin Tarantino’s 9th film is being called a “Love-Letter to his Childhood Los Angeles”. Which seems about right, what with all of the fan-boy nostalgia on the screen it’s kinda hard to not see this one as a clearly personal film.

Unexpectedly though, “Once Upon A Time in Hollywood” comes across like the least Tarantino-feeling film of the writer/director’s filmography. Sure, there are moments of the auteur’s signature style throughout, but this film is not so much a showcase for Tarantino’s clever narrative trickery or his sharply-witted dialogue heavy scenes. Instead, the film is a fairytale with a relatively straight forward narrative approach, that revolves around the relationship between two friends, stunt double Cliff Booth (Brad Pitt) and aging actor Rick Dalton (Leonardo DiCaprio), the latter of whom just so happens to live next door to Roman Polanski (Rafal Zawierucha) and Sharon Tate (Margot Robbie) on Cielo Dr. in Los Angeles, 1969.

With that brief narrative scenario in mind, “Once Upon A Time in Hollywood” could also be called a “redemptive act” for the loss of innocence Los Angeles experienced that year. Things may have always changed, but it’s undeniable just how different Los Angeles felt after 1969; and that theme resonates with the feeling of the film. Sure, it’s a Tarantino film but not necessarily the same Tarantino you love and remember. The aesthetics are similar for sure, but this one just feels different; not quite as magical, not quite as fulfilling, almost not quite right. Not that it’s wrong in any clear or deliberate way, but that “different” feeling is real, and it gives thematic credence to the idea that “you can’t ever go home again” or if you do, you can’t expect it to be or feel the same as it once did.

The editing of the film remains notable however. Not so much for Quentin’s usual novel-type approach, but because this one cuts back and forth so readily between the narrative reality and its Hollywood highlights; i.e. nostalgic locations and recreated television. There’s no issue with the audience being lost during these transitions, only with ensuring they remain interested in the larger fairytale that’s playing out over the course of the film’s almost three-hour runtime. And that’s kind of tough as the narrative itself is surprisingly pretty dull.

The casting for Tarantino’s films only seems to get broader as he progresses and “Once Upon a Time in Hollywood” is no exception. But to name the cameos and supporting role actors would spoil some of the fun and take a load of time and review space. To be direct though, there’s a ton of them, along with several the usual casting suspects: Michael Madsen, Bruce Dern, Zoe Bell, Kurt Russel, and Tim Roth who was noticeably cut from the final edit, but still gets a closing credit acknowledgement.

My Admission – $6.00
One Line Review – “Probably the Least Tarantino-Feeling Movie of His Filmography”
MPA Rating – R for language throughout, some strong graphic violence, drug use, and sexual references

 

 

 

Ready or Not (2019 / DVD) – Absurd but completely entertaining, this thriller-lite concerns the addition of a new family member to a rich and established familial dynasty. The conceit is that in order to pass the family initiation, the new inductee must play one game with the family. Ultimately that game is played for the inductee’s very life.

While the film fails to make a lasting impression with its reasoning or logic, it more than makes up for this lack with its fun and rather foul-mouthed gameplay. “Ready or Not” is not frightening, deep, or great, but it’s good fun and an assured audience pleaser.

Note: The film’s star, Samara Weaving, is the niece of Hugo Weaving (“The Matrix”, “The Lord of the Rings”) and is a talent worth paying attention to.

My Admission – $4.00
One Line Review – “Trading ‘Plausibility’ for ‘Fun’ Really Works in the Film’s Favor”
MPA Rating – R for violence, bloody images, language throughout, and some drug use

 

 

 

Revolting Rhymes (2016 / NETFLIX) – The two-part computer animated film, based on Roald Dahl’s book, is comprised of two 30-minute short films that rhythmically interweave five famous children’s story into one larger body of work.

Part One, splendidly reimagines the stories of “Snow White”, “Little Red Riding Hood”, and “The Three Little Pigs” while cleverly leading audiences into Part Two, which covers to a lesser degree, “Jack & the Beanstalk” and “Cinderella”. The pair of short films are wonderfully animated, a bit darker in tone, and at least somewhat emotionally pleasing.

Note: Part One garnered an Academy Award nomination for the Best Animated Short Film, ultimately losing out to Kobe Bryant’s “Dear Basketball”.

My Admission – $7.00
One Line Review – “An Oscar Nominated Twist on These Already Twisted Fairy Tales”
MPA Rating – TV PG for thematic elements

 

 

 

Toy Story 4 (2019 / DVD) – Time never sits still, in fact it continues to move forward for everyone, human and toy alike. One’s life moving forward, on the other hand…well, that decision’s a bit more personal. I know, the adage isn’t new but it’s apt, and it’s with that age-old thought in mind that audiences begin their fourth journey with Andy’s well-known toys.

In what feels like a natural progression for the lively and largely plastic group, “Toy Story 4” manages to explore some more fearful territory while still remaining a fun and feel-good entry for the franchise. The film never reaches into the scary-scary as far as past entries have reached into sad story elements, but its pseudo-frightening moments work well enough as intended thematic metaphors.

Incorporating such a large ensemble into one film is a tough gambit to pull off but “Toy Story 4” manages to deliver. Even with limited screen time no one feels left out, with this host of new (i.e. Forkie) and returning characters all helping to bolster this pseudo coming-of-age storied entry.

The film includes all of the series regulars and adds to them the vocal talents of, Mel Brooks, Carl Reiner, Carol Burnett, Betty White, Jordan Peele, Keegan-Michael Key, Tony Hale, Christina Hendricks, Ally Maki, June Squibb, Carl Weathers, Bill Hader, Patricia Arquette, Timothy Dalton, Flea (bass player for The Red Hot Chili Peppers), Melissa Villasenor, Jay Hernandez, Lori Alan, Madeline McGraw, and one super surprise voice as Duke Caboom; but I’ll leave this surprise in the package for you.

Note: Be sure to stick around when the film ends as there’s a series of stingers that filter in throughout the closing credits. And, as the credits end themselves there’s a quick final clip that proves that this group leaves no toy hanging.

My Admission - $6.50
One Line Review – “Everybody Grows Up Sometime”
MPAA Rating – G for mildly frightening and intense sequences involving toy and animal violence

 

 

 

The Two Popes (2019 / NETFLIX) – The interestingly true story of a seemingly unlikely friendship between the conservative Pope Benedict XVI and the practically liberal, future Pope Francis. Anthony Hopkins and Jonathan Pryce play the two popes and they’re fantastic together as they work to not only understand each other’s viewpoints and personalities, but to together forge a path into the future for the Catholic Church.

The film, directed by Fernando Meirelles (“City of God”, “The Constant Gardner”) delivers a thoroughly enjoyable mix of historical footage and semi-fiction, as both popes work to make their personal cases to each other before ultimately seeking forgiveness and absolution for their histories. These are two men at somewhat dogmatic odds who realize that they like and respect each other even more than they may need each other.

It’s certainly awkward at times but it’s even better for it as we see these two characters break through the discomforting strong personalities and into their respective new realities.

My Admission – $6.00
One Line Review – “Hopkins and Pryce are…Divine?”
MPA Rating – PG-13 for thematic content and some disturbing violent images

-m-