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Here's a look at the new movies I saw this week.

The Homesman
Starring: Tommy Lee Jones, Hilary Swank, Grace Gummer, Miranda Otto, Sonja Richter, and Meryl Streep
About: This is an odd movie. It's part period piece and part western. It was also clearly a passion project for Jones, who co-wrote the screenplay and directed the film in addition to starring. I was expecting something deep and meaningful — and maybe it was for someone — but what I got was an odd film that was quite depressing. It's set on the frontier prior to the Civil War. Mary Bee Cuddy (Swank) is a single woman trying to make her way in the west. All she wants is a husband and to build a family and a life. But that doesn't seem to be in the cards. Instead, she volunteers to take three women (Gummer, Otto, Richter) home who've gone mad thanks to the hardship of life on the frontier. She recruits a criminal (Jones) to help her in the task, and they form an unexpected friendship. I believe the movie wanted to be some kind of commentary on society, history, and life on the frontier. I gather it was brutal from the depiction here (which is probably closer to the truth than other stories). But what are we to take from this film? That's a question I can't answer even days removed from my screening of the film. It was bleak, the fate of the characters was bleak, and then it suddenly ended. Jones uses a good visual eye to tell the story, and there are some fine performances. But I couldn't ultimately tell what the point of the film was, and that's a problem. There was the bones of something good, possibly even great, here, but it never really develops.
Rating: R for violence, sexual content, some disturbing behavior and nudity.
Verdict: Two stars out of four.

Nightcrawler
Starring: Jake Gyllenhaal, Rene Russo, and Bill Paxon
About: This is an odd, intense story. It's also intensely creepy and deeply unsettling. It takes a look at the dirty business of news gathering and the "nightcrawlers" who go out and collect video footage. It also wants to be a commentary, of sorts, on what we want from news. When I was in journalism school I heard the phrase "if it bleeds, it leads." That was meant to be a crude observation about the priorities in news gathering — particularly when it comes to getting viewers. Airing a live car chase will draw more eyeballs than reporting about decisions made in the Supreme Court, no matter which is actually most important. That idea is at the heart of "Nightcrawler," but what makes it a compelling and chilling film is the lead character Louis Bloom. He doesn't really have a consciousness, and he's exceedingly creepy. In fact, the only thing that separates Bloom from the criminals is the fact he's found a way to get paid for shooting footage. He displays a lack of emotions and empathy, leading one to believe he's a psychopath who's found a calling. And Gyllenhaal gives one of his best performances in bringing Bloom to life. In fact, it's his performance that makes the movie worth watching. If you think about it long enough, aspects of the plot and story don't make a lot of sense. But in the end, it's about this character and the lengths he'll go to make it in the world, and it's about the corrupt and depraved system that would reward him for his efforts. This isn't a feel good movie, but it's a movie that will make you think.
Rating: R for violence including graphic images, and for language.
Verdict: Three stars out of four.

Whiplash
Starring: J.K. Simmons and Miles Teller
About: What does it take to be exceptional? Does it take a singular focus? Does it take natural talent? Can it be brought out by an extreme version of coaching and teaching that verges on abuse? These are some of the questions that “Whiplash” seeks to explore. The film is ostensibly about a young man who wants to be a great musician, and the teacher at his music conservatory that pushes him. But really it’s so much more. It’s a movie that bursts at the seams with passion. It’s uncomfortable to watch at times, it’s incredibly intense and it’s quite possibly the best film of the year. Fueled by a pair of incredible performances, “Whiplash” is unlike any film I’ve seen so far this year. Before the NFL season I read a profile on J.J. Watt, the terrific defensive lineman for the Houston Texans. The writer of that piece, in a podcast, noted that for Watt, football was his singular focus. He was intensely driven to be the best and didn’t have room in his life for other things. I thought about that when watching this film. Andrew struggles because he’s determined to be great, to leave a legacy. And that doesn’t leave a lot of room for anything else. Teller does an incredible job of conveying this intensity. Through literal sweat, blood and tears, Andrew wills himself to be the best he can be. He’s so driven to succeed that even when he’s rubbed his hands raw, he applies Band-Aids and keeps on going. He’s so driven and focused that he cuts out all personal relationships — save for a sort-of relationship with his dad — so he can dedicate himself wholly to his music. But that’s only half the story in “Whiplash.” The other aspect of the film is the man molding Andrew. Throughout the history of film we’ve seen all kinds of teachers. We’ve seen dedicated teachers. We’ve seen selfless teachers. We’ve seen kind teachers. We’ve seen inspirational teachers. But I don’t think we’ve ever seen a teacher like Fletcher. He’s got more in common with Sgt. Hartman from “Full Metal Jacket” than Mr. Holland and his opus. And part of what makes that intensity pop is the beautiful performance of J.K. Simmons. Simmons is probably better known for soft and comedic roles, such as his turn as Juno’s father in “Juno.” But here there is nothing soft, warm or compassionate. He’s an intense man driven to get greatness from his students by the most abrasive means possible. He’s searching for a once-in-a-lifetime talent, and he’s willing to do anything to bring that out. Writer-director Damien Chazelle depicts this beautifully. He articulates Fletcher’s life philosophy early on as the teacher relays a strong of how Charlie Parker became great to Andrew. In the story, Parker was forced to fully realize is talent after a band leader berated him and threw a cymbal at his head on stage. That seminal moment forced Parker to look inside and find his greatness. Fletcher has spent his entire life seeking to do that for one of his students, by any means necessary. He’s a towering figure in the film and utterly vicious. Simmons does an incredible job of bringing that complexity to life. Equally as stunning is the third act of the film — which I won’t spoil here — that heads in an unexpected direction and leaves on a masterful note of filmmaking. This should be a strong contender this awards season, and it’s simply the finest film I’ve seen so far this year. You should run out to see this movie.
Rating: R for strong language including some sexual references. Enter with caution.
Verdict: Four stars out of four.

Upcoming Releases:

Friday, December 12 — "Exodus: Gods and Kings," "Top Five," "Inherent Vice"

Wednesday, December 17 — "The Hobbit: Battle of the Five Armies"

Friday, December 19 — "Annie," "Night at the Museum: Secret of the Tomb," "The Gambler"

Thursday, December 25 — "The Interview," "Big Eyes," "American Sniper," "Unbroken," "Into the Woods"