Don’t you love it when you see a good film? I mean, a really good film? It’s as if you can almost forgive Hollywood’s slew of crap and truly appreciate a really great movie. Well, that’s just the case with Lincoln. If one can overlook the temporary injections of corniness, they can witness a beautiful, passionately and wonderfully acted, and an even charming film blossom before their very eyes.
Lincoln follows the 16th President and his cabinet’s journey to establish the 13th Amendment; you know, the one that gets rid of slavery? Obviously, it’s kind of a big deal, and some people don’t like it. Abraham Lincoln must convince his nation to ratify this measure, all while attempting to bring the Civil War to a close, grieve with his wife Mary over the death of his son Willy, raise and love his other two boys, and deal with a bunch of old, grumpy white guys.
In short, Spielberg’s still got it. All of these topics are handled gracefully and flow smoothly with each other, also managing to paint a touching portrait of Lincoln. (Lincoln’s kind of like the Grandpa you wished you had, who would go off topic and tell funny stories, then somehow tie that story into his preceding point, and look really cool and wise.) While Spielberg’s direction is great (one is always aware of the camera, but it seems more like a warm invite than an irritating awareness), let’s give a round of applause for Tony Kushner, the screenwriter. It takes great skill to construct an accurate and pleasing portrait of Lincoln and his presidency. And the assassination: tactful, despite how weird that may sound. The death of America’s President is sad, yet bittersweet.
And wow, I forgot to mention the acting; that’s just how good it is. Everyone falls completely into their characters, and I bet you $100 Daniel Day-Lewis is winning that Oscar.*
Lincoln is one of the best films this year, no doubt about it.
☆☆☆☆
*I’m sorry, I actually can’t give you a $100.
thrilling. It definitely sends your brain in loops, but not because the it’s hard to understand, but by the end of the movie, one has to ask: how does a film that began so wonderful end so horribly?
Funnily, this film reminded me of many movies I’ve seen recently: Magnolia, American
In The Master, we are greeted by Freddie Quell, a wrecked leftover from WW2 who possessed some serious mental issues, some fostered by disastrous exposure to brutal killings, some created by the puzzling grooves of his mind. He’s unpredictable and has a ravenous sexual appetite. When we are first introduced to Freddie in the opening sequence, including a scene of him humping a sand lady he’s fashioned on the beach, one can’t help but wonder: is this nurture of his nature?
a sex scene? What meaning do the numerous sexual references have? Does The Master have any meaning? An often recurring pop-up in PTA’s films is that there is no meaning. Everything is merely interesting, never insightful. The Master never fully impacts because Anderson mixes characters with lazy story lines (not so much in construction of the script, but applying innate ideas to a film with substance). PTA has a talent for devising interesting and complicated characters in dramatic plots, but again, they stop there. Enigmatic people who convey no truth about life. Substance in films don’t equal sunshine and rainbows (American Beauty is controversial, yet it had substance and a point to it: how beautiful life is, yet how fleeting beauty is in one’s life, especially one stunted with droning complacency). An well-executed movie lets the moviegoer think for themselves and devise their own reasonable dissection of the film, enabling an emotional and mental connection. There is no such thing with PTA or The Master.
Barry (Adam Sandler) is crazy. Not Norman Bates crazy or anything, but he’s got some serious issues for sure. Lonely would be an understatement to describe his life. Even in a room packed with people, Barry is always alone. He experiences rashes of anger; it boils beneath his red-hot skin when provoked, and explodes whenever it desires to. But, Barry is not all crazy. He’s a pretty sweet guy. A sweet, nice guy who falls in love with Lena.
