Timothee Chalomet

Beautiful Boy

21/01/19

The people emerging from the afternoon screening of Beautiful Boy, still mopping at their eyes, pay testament to the fact that this film is what used to be termed a ‘four handkerchief weepie.’ My tears are undoubtedly flowing as abundantly as many others in the audience, because this is a heartrending story about a father’s desperate attempts to deal with his beloved son’s drug addiction. Be warned, it does not exactly make for a side-splitting trip to the cinema.

Freelance journalist David Sheff (Steve Carell, who seems to be in so many films lately it’s a wonder he didn’t land the title role in Mary Queen of Scots) has always had a close relationship with his son, Nic (Timothée Chalamet), a handsome and talented young lad who appears to have the brightest possible future ahead of him – until crystal meth addiction gets in the way and turns him into a deceitful, self-destructive shadow of what he once was. David can only watch in abject misery as all his hopes for his son’s future go headfirst down the nearest toilet – and we share his pain. It’s like watching helplessly as an out of control vehicle hurtles headlong to destruction, knowing that we are powerless to change anything.

Based on two books – one by the father and the other by the son – Beautiful Boy attempts to give us both sides of the story, though it must be said that I am occasionally left wanting more detail – and there is the conviction that some of the less salubrious elements of the tale have been lightly glossed over, perhaps because they may not show the protagonists in the best light. For instance, at one point David says that he has made mistakes in parenting Nic, but we don’t see any – indeed, he emerges as an almost saintly figure, working tirelessly to offer help and financial support.

The film belongs to the two leads and Chalomet, building on the superb work he did in Call Me By Your Name, manages to make us care about Nic, even as he does the most heinous things to the people who love him, even stealing money from the younger brother who clearly idolises him. Maura Tierney as David’s second wife, Karen, doesn’t have an awful lot to do here and, for that matter, neither does Amy Ryan as his first wife, Vicki. The story skips nimbly back and forth in time, using earlier scenes to emphasise the implicit trust that father and son once enjoyed and there are some clever uses of music to help tie things together – any film that features Neil Young’s Heart of Gold gets brownie points from me, even if its appearance precedes one of the story’s most distressing scenes.

The film ends with a plea for addicts everywhere to seek help and reminds us that, in America, drug addiction is the primary cause of death for young men under the age of fifty, which is sobering news, and underlines how the massive profits enjoyed by both drug suppliers and treatment centres are shameful and obscene.

Beautiful Boy is a heartfelt film with an important message and it deserves to be seen, but be prepared, take a hanky. You’ll probably need it.

4 stars

Philip Caveney

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Lady Bird

16/02/18

Greta Gerwig is a fascinating woman. After seemingly stumbling into the film business via a series of zero budget, mumblecore efforts, she has quickly demonstrated that she is a force to be reckoned with. The semi-autobiographical Frances Ha, written by Gerwig and directed by Noah Baumbach, plays like early Woody Allen and Lady Bird feels very much like a prequel to that film, with Saoirse Ronan stepping up to the plate to play a teenage version of Gerwig. From the opening sequence where Christine “Lady Bird” McPherson argues with her mother, Marion (Laurie Metcalf), in a moving car – and then throws herself out of it rather than continue the conversation – we are left in no doubt that this is the story of a troublesome teen, who is likely to get her own way in the end.

Christine lives in Sacramento but longs to go to college in New York, where she believes ‘culture lives’. But it isn’t as easy as that. Her father, Larry (Tracy Letts), recently lost his job, her adopted step brother, Miguel (Jordan Rodrigues), seems in no hurry to get one ,and its pretty much left to Marion, a psychiatric nurse, to bring home the bacon. Little wonder the thought of paying for a place at an Ivy League University doesn’t figure highly on her agenda. She and Christine have a troubled relationship and it’s this, more than anything else, that lies at the heart of this powerful and beguiling film, which Gerwig has chosen to direct herself. Typically, she handles it with great aplomb, somehow managing to make the running time fly past and coaxing wonderful performances from everyone involved, especially from Ronan and Metcalf, who make a winning combination.

The story is often very funny (a scene where the a drama group is run by a physical exercise coach is a particular stand out), but it’s powerful enough to occasionally tug at the heartstrings too. I particularly like Beanie Feldstein as Christine’s best friend, Julie, and there’s also a nice cameo from Timothee Chalomet as one of Christine’s patently unsuitable boyfriends. Oscar nominations have been announced and, who knows, in the present climate, the establishment might finally be ready to reward another female director, and Lady Bird could well be a surprise winner.

Whatever the outcome, this is a sublime piece of film-making that never puts a foot wrong and demonstrates only too clearly that Greta Gerwig is a talent to be reckoned with.

5 stars

Philip Caveney

Hostiles

05/01/18

It’s often been said that, in times of political uncertainty, Hollywood revisits the Western – and it’s certainly true that this once moribund genre has recently enjoyed a bit of a renaissance, not least through Netflix’s superb series, Godless, which offers a refreshingly feminist view on the subject. Scott Cooper’s bleak and savage vision of the Old West seems designed primarily to remind us what an unpleasant era it was in which to eke an existence. Which is not to say that it isn’t a fascinating film. It is – even if it occasionally makes for uncomfortable viewing.

The film starts in New Mexico in 1892, towards the end of the infamous ‘Indian Wars.’ Captain Joseph Blocker (Christian Bale), a seasoned cavalry officer, finds himself presented with an assignment he really doesn’t relish. He is to escort his old adversary, a captive Cheyenne warrior called Yellow Hawk (Wes Studi), to Montana. The old man is stricken with cancer and wants to return to his ancestral burial grounds to end his life. Blocker makes no secret of the fact that he hates Yellow Hawk and has no intention of burying an axe unless it’s in the back of the old man’s head, but the US President has decreed that he must fulfil his obligations, so he rounds up a detachment of men and sets off on the long and arduous journey. (Watch out for a cameo role from young Timothee Chalomet currently being talked up as a potential  Oscar contender for his role in  Call Me By Your Name.)

Soon, Blocker and his men stumble across a harrowing tragedy in the shape of Rosalie Quaid (Rosamund Pike), who has just witnessed her entire family being massacred by a Comanche war party. Blocker has no option but to take the widow along for the ride, hoping that he can drop her off somewhere safe along the way… but as the journey progresses and a series of disasters unfold, it becomes clear that Blocker and Quaid’s  lives are to become inextricably entangled.

Cooper paints an unpleasant picture of the West: a world where gunfire and rape seem to lurk around every corner; where most of Cooper’s men are suffering from what was then called ‘the melancholy’ but which we now label as PTSD; where irrational hatred begets ever more hatred; and where women are seen as a commodity to be taken and used at any man’s whim. Bale is excellent in the central role, managing to convey his internal agony with little more than a look and a shrug – whilst Pike, whose character goes through a living hell in this film, is also memorable.

More than anything else though, the film serves as a comment on what’s happening in Trump’s America right now. It helps you to understand the entrenched Republican values that makes Americans so resolute on the right to bear arms – and why the country is inevitably heading for such devastating sorrows.

4.2 stars

Philip Caveney