Now Playing

 

This week saw a couple interesting new films, including the hotly anticipated Civil War from director Alex Garland. Below is my take on this week’s new films. You can keep up with everything I’m watching by following me on Letterboxd @knighthawk7734.

The Beast (Theaters)
Starring: Lea Seydoux and George MacKay
Synopsis: The connection with another person can throw us for a loop. So, too, can the lack of that connection. In the new film, The Beast, we see these ideas explored in a unique, twisty way that was inspired by a Henry James novella. The film comes from writer/director Bertrand Bonello. It is a science fiction film. It’s a film that takes place in multiple time periods. And it draws inspiration from James’ The Beast in the Jungle. But this isn’t a pure adaptation—rather it latches on to the themes and ideas of that story to look at those same ideas through a new lens. The film begins in 2044. Gabrielle (Lea Seydoux) is plagued by a sense of impending doom. She lives in a time when feeling too rich of emotions is seen as a negative. Through a process of purifying ones DNA—embracing past lives and past connections—those emotions can be put in check. But Gabrielle is on the fence. She wants to move forward, but she doesn’t want to lose the emotions that make her a real, vibrant person. She meets Louis (George MacKay), and they spark a connection. It seems deeper than a casual meeting. As Gabrielle undergoes the procedure, she’s taken to 1910. There, she connects with Louis. They share a spark. They fall in love. It doesn’t go all according to plan. Later, she’s transported to her past self in 2014. She encounters Louis again. They share a spark. They make a connection. But things don’t go according to plan. These connections and feelings cause Gabrielle to doubt the process of removing her emotions, leading her to face a difficult and potentially exhilarating decision. This film has a complex plot that spans three different time frames. We see the same actors playing variations of themselves meeting in different ways throughout time. The same themes—a sense of foreboding dread, connection, and sparks of love—persist in all three time frames. It’s meant to be an exploration of both ideas, as James’ novella was. This is a unique concept and a unique approach. Visually, I was taken with the worlds built by Bonello. And, often, I was drawn to these characters, too. But some of it works better than others. I was particularly taken by the rich narrative in 1910. And I was really moved by the concluding act. Some of the middle section—in 2014—was harder to follow. Throughout it all, I was taken with Seydoux. She gives a rich lead performance with some incredible moments and some very expressive moments that help bring the depth of emotion to life. MacKay is strong as well, and particularly in the early time frame they have some great chemistry. There were moments in the film that really resonated with me. I thought the concept and idea here was also great. Sometimes the execution and the story didn’t hit, but overall, it was a fascinating and compelling journey.
Rating: NA
Verdict: Three stars out of five

Civil War (Theaters)
Starring: Kirsten Dunst, Cailee Spaeny, Wagner Moura, and Stephen McKinley Henderson
Synopsis: It hasn’t been a great few years for America. The division in the nation has been palpable at times. And yet, we’ve managed to stay these United States. But what if we weren’t? As we head into a contentious election year, Alex Garland’s new film, Civil War, posits just that question. In it, we’re thrust headlong into a United States that is torn apart by war. The Western Forces are closing in on Washington, D.C., the Florida faction is on the move, and the President of the United States (Nick Offerman) is making grandiose speeches about how close the country is to being reunited. Veteran journalists Joel (Wagner Moura) and Lee (Kirsten Dunst) are there to cover it as we begin in New York City. Joel is an action junkie, while Lee is a decorated—and famous—war photographer. She’s more than a little shaken about the war coming home. Soon, they’re in the midst of a rally that turns violent—then deadly. A young photographer, Jessie (Cailee Spaeny) is caught in the middle of it. Lee pulls her out, shields her, then goes back into the fray. Jessie is left, in awe, to follow the action. Soon, Joel and Lee are at their hotel. With rumors that the Western Forces are preparing an invasion, they plan to head to Washington, D.C. They hope to get the President to go on record—if they aren’t killed first. A veteran reporter, Sammy (Stephen McKinley Henderson), catches a ride to the front in Charlottesville. So, too, does Jessie, despite the protests from Lee. The four make the dangerous trek towards the front lines and the Nation’s Capital. Along the way, they see a country torn apart by war and division. This is a powerful idea, and it makes for a powerful film. Garland is an exceptional technical filmmaker, and the craft here adds to the tension, the drama, and the raw emotions. The use of shots, colors, sound, and music all adds to the aesthetic from the jump. This film is apolitical by choice. We don’t explore the issues that separate these sides, and we don’t even know what major issues caused the rift. It isn’t about that. It’s about a nation whose divisions allowed it to descend into mass violence and chaos, and the role of an impartial media to document those issues and bring them to light. That may rub some the wrong way, but I was pulled in and hooked by this exploration. As Lee says at one point, her job isn’t to ask the deeper questions about the horrific things she sees. Her job is to take the picture, get it out, and hope those who see it will ask the tough questions. That, sometimes, is the role of journalists. As I’ve long enjoyed films that explore journalism, this really resonated with me. So, too, did the performances. Henderson, Moura, and the rest of the supporting cast is strong. But I was really taken with Dunst and Spaeny, who are the focus of much of the film. Both give great performances and draw you into their characters. I was deeply engaged and moved, and both convey a great deal through their faces and actions in the film. There were moments of perfection here, but it doesn’t remain consistent. I was more under-whelmed by the final 20 minutes, including the concluding sequence. Still, I loved this ride and what Garland did here.
Rating: Rated R for strong violent content, bloody/disturbing images, and language throughout.
Verdict: Four stars out of five