\

Browse Josh's Portfolio and the Comic, Reviews or Blog archive.

Josh Reviews The Midnight Sky

The Midnight Sky stars George Clooney (who also directed the film) as a grizzled scientist left alone at an arctic research station after an environmental catastrophe has devastated the globe.  After a while, he discovers that he is not as alone as he’d thought: a young girl has secretly stayed behind at the station along with him.  Together, the two must face a perilous journey in an attempt to warn a crew of astronauts, returning to Earth, of the danger that awaits them.

The Midnight Sky was written by Mark L. Smith (who wrote The Revenant and is one of many different people who were at one time attached to write the as-yet-unmade fourth Star Trek film for J.J. Abrams’ Bad Robot studios), adapting the novel Good Morning, Midnight by Lily Brooks-Dalton.  (I have not read that novel, so I am judging The Midnight Sky based on the film, alone.)  The brief description I wrote above is one that appeals to me, and I am always excited for a new original sci-fi film.  I loved the first two films George Clooney directed (Confessions of a Dangerous Mind and Good Night, and Good Luck), and while in my opinion none of his subsequent films have been nearly as good, I know he has skills as a director and I was excited to see what he could do with a sci-fi story.  And yet, unfortunately, I must report that I found The Midnight Sky to be a huge disappointment.

The film started off well!  I really enjoyed the mysterious set-up; I love that the film doesn’t hold our hand to spell out what exactly is going on.  We’re forced to catch up with events as we see the evacuation of the research station, and see that George Clooney’s character (who we later find out is named Augustine) has stayed behind for reasons that at first are unclear.  I really dug this almost wordless early-going, as we watch the story unfold as basically a silent film.  We follow Augustine’s life alone at the station and, then, the events that unfold after he discovers the young girl (whose name we learn is Iris), who appears mute.  George Clooney is a far better actor than his movie-star celebrity might lead one to believe; he’s incredibly compelling to watch in these early scenes.  And I quite enjoyed the silent work of Caoilinn Springall, the young actress who plays Iris.  These sections are also beautifully directed by Mr. Clooney, who finds some compelling and eerie visuals in these scenes of two people alone amidst the cold technology of the base and the arctic expanse that surrounds them.

But then the film starts cutting away from Augustine … [continued]

Browse Josh's Portfolio and the Comic, Reviews or Blog archive.

Josh Reviews Hail, Caesar!

The Coen Brothers have made some dark, violent films, and they have made some light, funny films, and they have made some films that seem to fall somewhere in between.  Their latest, Hail, Caesar!, is for most of it’s run-time one of the Coen Brothers’ lighter, more farcical films, though periodically the movie reminds us that it has something more on its mind than simple silliness.  Hail, Caesar! might, upon some reflection, be considered one of the Coen Brothers’ more minor works, but don’t let that fool you into thinking that this film doesn’t have a lot of fun to offer.

HailCaesar.cropped

Set in Hollywood in the 1950’s, the film stars Josh Brolin as Eddie Mannix, a studio exec and “fixer” who is trying to locate his kidnapped star, Baird Whitlock (George Clooney), before news of the star’s disappearance can make it into the papers.  Baird’s kidnapping, by a group of disgruntled Communist screenwriters, is only one of the many fires that Mannix has to try to put out as he tries to keep his studio afloat and all of his in-production pictures running smoothly.  The dim-witted Baird, meanwhile, finds himself somewhat taken in by his Communist kidnappers.

Hail, Caesar! is a very silly film.  “Silly” is a tone that is surprisingly difficult for many filmmakers to pull off, but the Coen Brothers have mastered the art of comedic goofiness.  They make it look so easy.  There are a lot of wonderfully funny moments in the film as the Coens gently skewer the art of making movies and the pomposity of Hollywood egos.  And say whatever you want about the film as a whole, but the fall-on-the-floor hysterical scene of effete director Laurence Laurentz (Ralph Fiennes) — whose very name is a subtle gag running throughout the film — trying to give a line reading to the dim-bulb cowboy actor Hobie Doyle (Alden Ehrenreich) is one of the greatest scenes they have ever created in any of their films.  I am not exaggerating.

One of my favorite aspects of Hail, Caesar is the way the film occasionally morphs into one of the popular styles of Hollywood films from the fifties, from Biblical epic to elaborate musical to peppy dance number.  Each one of these sequences is lovingly realized (Channing Tatum’s Gene Kelly-esque sailor song-and-dance number is particularly terrific) and they bring the film a great spark of energy each time they shift the movie into a different tone.  (Though I will say that while I loved Michael Gambon’s pompous narration at the start of the film, I could have done with a little less of it as the film progressed.)

Hail, Caesar!’s main film-within-a-film, the Roman epic in which Baird … [continued]