Based on a graphic novel of the same name by Derf (John) Backderf, My Friend Dahmer (2017) traces infamous Wisconsin serial killer and cannibal Jeffrey Dahmer’s high school years, as chronicled by a former friend. Written and directed by Marc Meyers, this moody and hauntingly subtle film won best picture at Austin Fantastic Fest. Despite competent performances by its cast, My Friend Dahmer fails to leave a lasting impression. It lacked an over-all plot, and the poorly-mixed sound was barely audible.
Jeffrey Dahmer committed his first murder three weeks after graduating high school. As a teen, he coped with his parents’ failing marriage with alcohol abuse and acting out at school, and developed a fascination with death. He went on to kill sixteen people, preying mostly on young gay men in Milwaukee. He dismembered and ate some of his victims. He was finally caught in 1991, and a fellow inmate murdered him three years later.
Out of what I assume is a strict adherence to the source material, the film never goes below the surface or attempts to explain why Dahmer became a monster or what could have been done to stop him. It subtly hints at his aberrant sexuality without confronting it. What remains is a stark depiction of events without drama, tension, or conflict.
Ross Lynch gives an admirable performance as the wannabe serial killer (although the movie doesn’t give him much to do). This is certainly a departure from his other roles in Disney films and TV shows like Austin & Ally (2011-2016). His brooding, deadpan performance couldn’t contrast more with his usual upbeat, teen heartthrob characters. Such a dramatic acting range bodes well for his future career in film, and I’m looking forward to seeing him in more dramatic roles.
A young woman feels called to become a Catholic nun during the tumultuous period of Vatican II in Novitiate (2017). Written and directed by Margaret Betts, Novitiate is an intimate portrayal of the personal struggle and sacrifices these women made to pursue a religious calling, while others felt abandoned by the institution that gave their lives meaning. This was Margaret Betts’ first feature film, and is a genuine and heartfelt effort with outstanding performances by its cast.
The film opens in 1954. Though non-religious, Nora Harris (Julianne Nicholson) takes her young daughter Cathleen to church. Her marriage is falling apart and her abusive husband leaves. Later, religious sisters visit their home and offer Cathleen a scholarship to attend a newly-opened Catholic school, where she feels the presence of God. At 17, Cathleen (Margaret Qualley) believes she has been called to become a nun and enters a convent as a postulant, over her mother’s objections.
At the Order of the Sisters of Blessed Rose, Cathleen befriends her fellow postulants, Sissy (Maddie Hasson), Emily (Liana Liberato), Evelyn (Morgan Saylor), and others, and meets Reverend Mother (Melissa Leo), a stern headmistress. As the girls progress towards becoming novitiates, Reverend Mother becomes alarmed with the reforms of the Second Vatican Council. She believes the changes will destroy their way of life, and tries to resist them despite warnings from Archbishop McCarthy (Denis O’Hare).
Things get complicated when Cathleen feels an awakening sexuality, to which she responds by starving herself. This drives her into the arms of a newcomer, Sister Emanuel (Rebecca Dayan). Also starved for physical affection, the two share a forbidden moment of tenderness. Meanwhile, Reverend Mother grows despondent as she is powerless to stop Vatican II from liberalizing their religious order, undermining her authority and resulting in a mass exodus of nuns.
Twelve special operations soldiers team up with the Northern Alliance to strike back against the Taliban in Afghanistan in the wake of the September 11, 2001 terrorist attacks in 12 Strong (2018). Written by Ted Tally and Peter Craig, and directed by Nicolai Fuglsig, 12 Strong is based on the book Horse Soldiers (2009) by Doug Stanton. Unfortunately, epic battle scenes and a compelling real-life story aren’t enough to rescue this film from its lackluster execution and direction.
Green Beret Captain Mitch Nelson (Chris Hemsworth) is moving to a staff job when terrorists destroy the World Trade Center on September 11, 2001. With the help of Chief Warrant Officer 5 Hal Spencer (Michael Shannon), he convinces Lt. Colonel Max Bowers (Rob Riggle), Commander of 3rd Battalion, 5th Special Forces Group, to allow him to rejoin his team and deploy with Task Force Dagger against the Taliban and Al Qaeda in Afghanistan.
In Uzbekistan, Captain Nelson convinces Colonel John Mulholland (William Fichtner) to allow his team to go in first by displaying confidence and a knowledge of Afghan history, despite never having served in combat. Prominent members of his team include SFC Sam Diller (Michael Peña) and SFC Ben Milo (Trevante Rhodes). Together, they must earn the trust of an unpredictable Afghan warlord, General Abdul Rashid Dostum (Navid Negahban), and help him defeat his Taliban rivals around the city of Mazar-i-Sharif using U.S. air power.
Mullah Razzan (Numan Acar), leader of the Taliban forces, is a dark-haired, mustache-twirling villain who executes a woman early in the film for teaching young girls to read. After several confrontations and missteps, Captain Nelson wins Dostum’s trust and together they overwhelm the Taliban in the “Tiangi Gap” and free Mazar-i-Sharif, mostly on horseback.
A female tennis star wrestles with the patriarchy and her own sexuality in the gyno-centric sports dramedy Battle of the Sexes (2017), written by Simon Beaufoy and directed by Jonathan Dayton. A retelling of the most-watched tennis match of all time, between ex-champion Bobby Riggs and top female player Billie Jean King, seemed promising, but something misfired along the way. It was partly billed as a comedy, and features both Sarah Silverman and Steve Carell, but ends up only being mildly amusing.
It’s the early 1970s. Tennis star Billie Jean King (Emma Stone) and her manager Gladys Heldman (Sarah Silverman) confront Jack Kramer (Bill Pullman) about gross inequality in tennis prize money between male and female players. In outrage, they storm off to found their own women’s tennis association. Meanwhile, ex-tennis star Bobby Riggs (Steve Carell) has hit a new low as his gambling addiction threatens to tear apart his family.
As her new league takes off, Billie Jean King’s behavior threatens her marriage as well, when she meets hairstylist Marilyn Barnett (Andrea Riseborough) and discovers she is attracted to women. This affair seems to have little effect on her life, however, when her cuckolded husband, Larry King (Austin Stowell), shrugs it off and continues to faithfully dote on her.
Meanwhile, Bobby Riggs comes up with a way to exploit controversy over the women’s lib movement to make money and challenges top female tennis players to an exhibition bout. He handily defeats Margaret Court (Jessica McNamee), who is portrayed as somehow flawed and weakened by her loving devotion to her husband and child. Billie Jean King finally accepts the challenge and ends up humiliating Riggs in a match dubbed “The Battle of the Sexes.”
An ex-Confederate organizes a rebellion in southeastern Mississippi during the American Civil War and continues to battle for equal rights for freedmen during Reconstruction in Free State of Jones (2016), written and directed by Gary Ross. The film alternates between the 1860s and a 1948 miscegenation trial, to the detriment of both. Free State of Jones bombed at the box office and received mixed reviews from critics.
The film begins at the Battle of Corinth in northeastern Mississippi, October 3-4, 1862, in which Confederate forces under Maj. Gen. Earl Van Dorn attempted to dislodge Union forces commanded by Maj. Gen. William Rosecrans from fortifications around the town of Corinth. Newton Knight (Matthew McConaughey) is a medical orderly in the Confederate army from Jones County, a predominantly poor area with few slaves.
Knight is disgruntled to learn of a Confederate law that allows sons of plantation owners to avoid military service depending on the number of slaves his family owns. This was designed to guard against slave uprisings, but it angered some poor whites who believed they were fighting a “rich man’s war”. When Knight returns the body of his nephew Daniel (Jacob Lofland) to his home county, he learns that Confederate Captain Elias Hood (Thomas Francis Murphy) is excessively confiscating goods from the local population.
Things get complicated when Knight meets and falls in love with a slave, Rachel (Gugu Mbatha-Raw), despite being married to Serena (Keri Russell). He fights back against the tax collectors and hides out in the swamp, where he meets fugitive slaves and befriends Moses (Mahershala Ali). Together with other deserters, they successfully rebel against the Confederacy and proclaim a Free State of Jones. After the war, freed slaves struggle against a segregationist South.
A wounded Union soldier is sheltered at a girls’ boarding school in rural Virginia during the American Civil War, igniting pent-up passions and jealousy in this pale imitation of the 1971 Clint Eastwood classic, itself based on the 1966 Southern Gothic novel A Painted Devil by Thomas P. Cullinan. The Beguiled (2017), written and directed by Sofia Coppola, is a remake no one asked for, visually beautiful but emotionally monochrome.
John McBurney (Colin Farrell) is a corporal in the 66th New York and wounded in the leg while fighting somewhere in Virginia in the summer of 1864. He stumbles through the wilderness and collapses. Amy (Oona Laurence), a young student at the nearby Miss Martha Farnsworth’s Seminary for Young Ladies, discovers him and takes him back to the neglected school.
Miss Martha (Nicole Kidman) stitches Corporal McBurney’s wound and allows him to stay long enough to recover. Meanwhile, he attracts the attention of the other young ladies of the house, Alicia (Elle Fanning), Jane (Angourie Rice), Marie (Addison Riecke), Emily (Emma Howard), and especially their teacher, Edwina Morrow (Kirsten Dunst).
McBurney is passive but emotionally manipulative. He pledges his love for Edwina, but after catching him in flagrante delicto with Alicia, she accidentally pushes him down the stairs, which opens his wound and breaks his leg. Miss Martha amputates his limb below the knee to prevent infection. McBurney flies into a rage when he sees what she has done, gratuitously injures Amy’s pet turtle, and terrorizes the girls with a revolver.
Written and directed by James Gray, The Lost City of Z (2016) traces the life of British soldier and explorer Percy Fawcett. Fawcett (Charlie Hunnam) is compelled to scour the Amazon for evidence of a lost civilization. Along the way, he’ll repeatedly abandon his wife Nina (Sienna Miller) and his children and overcome resistance from skeptical colleagues, all to ultimately come up empty handed. It is based on a book of the same name by David Grann.
I’ve been looking forward to seeing this film since its release, because it’s one of those real life stories more incredible than fiction. Percy Fawcett’s adventures inspired both Indiana Jones and Arthur Conan Doyle’s novel The Lost World (1912). Unfortunately, The Lost City of Z was less an adventure film and more a plodding, meandering biopic that never quite finds its footing.
As the film opens, we see Percy Fawcett at the cusp of the British upper class. He is a major in the army, but has no medals; he goes on a hunt and kills the stag, but is not invited to dine on it. We see he’s skilled, daring, and willing to take risks. However, this isn’t quite an introduction.
The film makers assume their audience already knows who Percy Fawcett is, but he is a relatively obscure historical figure, especially to American audiences. It’s crucial to quickly establish the identity of the main character and why he is important. Otherwise, you lose the audience’s attention.
Thirteen minutes into the film, a plot finally appears. We learn Fawcett’s father was a gambling drunkard, and he is told that if he completes his mission to map the Bolivian border it will redeem his family name.
Detroit (2017), written by Mark Boal and directed by Kathryn Bigelow, dramatically recounts an incident in which three black men were allegedly murdered by police at the Algiers Motel during the 1967 Detroit Riot. Detroit grabs you and never lets go. Unfortunately, its subject matter might be a little too weighty for summer movie audiences. Bigelow, whose other films include The Hurt Locker (2008), K-19: The Widowmaker (2002), and Zero Dark Thirty (2012), set out to make a film critical of white privilege, so certain elements have been changed to conform to this perspective. In some ways the actual events were much worse than depicted.
First, some context. In 1950, Detroit was a diverse, prosperous, and culturally significant metropolis of 1.85 million people. It was arguably among the greatest cities in the United States. By 1967, Detroit was 40 percent African American, but its police force was 95 percent white. Migration to the suburbs had already caused significant population decline. The 1967 Detroit Riot (also known as the 12th Street Riot) began around 3:15 a.m. Sunday, July 23, 1967, after police raided an illegal after hours party in the office of the United Community League for Civic Action at 9125 12th Street.
The riot lasted five days, ending on July 27. Michigan Governor George W. Romney sent in the National Guard and President Lyndon B. Johnson sent in the 82nd and 101st Airborne Divisions to help restore order. When the dust settled, 43 people were dead, 1,189 injured (including 493 police, firefighters, and National Guard members), and 7,231 arrested. 2,509 stores were looted or burned, with an economic loss estimated at $40 to $45 million.
Three men, Aubrey Pollard (Nathan Davis Jr.), 19, Carl Cooper (Jason Mitchell), 17, and Fred Temple (Jacob Latimore), 18, were killed at an annex of the Algiers Motel, 8301 Woodward Avenue. Pollard was killed by Detroit Police Officer Ronald August (“Demens” – Jack Reynor), Temple was killed by Detroit Police Officer Robert Paille (“Flynn” – Ben O’Toole), and Cooper’s murderer remains unknown. Police officers involved in the incident were acquitted by reason of self defense at trial, so their names were changed for the film.