Macbeth - B

Michael Fassbender as Macbeth

Rated R, 113 minutes

All hail Macbeth. If you like your Shakespeare down and dirty, then the visceral, well-acted new version of his classic tragedy "Macbeth," boldly directed by Australian Justin Kurzel will be right up your alley. Purists may not like it, and no it's not something Olivier or Orson Welles would've approved of, but it's the most accessible Shakespeare film version seen in years proving to be much less stagey and stodgy than these adaptations can come across as. After murdering King Duncan (David Thewlis) and seizing the throne with the help of his wife (Oscar-winner Marion Cotillard), Macbeth (Michael Fassbender) becomes consumed with guilt and paranoia as the tyrannical ruler of Scotland. Gritty and bloody, the entertaining "Macbeth" is a mesmerizing experience, with terrific performances from the Fassbender and Cotillard as the ambitious but guilt-ridden king and his scheming wife; this version, co-written by Jacob Koskoff,  Michael Lesslie and Todd Louiso, is faithful to Shakespeare's source material ("The Tragedy of Macbeth") and is spoken in modern English rather than the usual King's English, yet it still has a genuine feel to it, given it was filmed on location in Scotland. You can practically feel the cold and blood dripping from the actors faces from the violent, "Braveheart"-style opening to equally bloody, tragic climax, all done with some cinematic flair by director Kurzel, in his first major screen offering. "Macbeth" is a compelling, stylized look at the damage that political ambition and power can give: Macbeth and his Lady were once the power couple, but their machinations finally did them in. As with any stylized, bold offering some of it's uneven and not everything works well (does everything have to be covered in blood and dirt?). It's relevancy is underscored by the upcoming U.S. Presidential election: anyone named Clinton, Bush, Trump should take a look at "Macbeth" on what not to do while in power.

The Danish Girl - B

Rated R, 120 minutes

Eddie Redmayne

The affecting, superbly acted new drama "The Danish Girl" tells the story of Lili Elbe, a pioneer for the transgender movement. Directed by Oscar-winning director Tom Hooper ("The King's Speech") and written by Lucinda Coxon ("The Heart of Me"), based on the best-selling novel by David Ebershoff, it's can a little too restrained, even tactful, but it's also intelligent and moving and understandably has been generating Oscar buzz for some time. In early 1920s Copenhagen, painter Gerda Wegener (Alicia Vikander) asks her husband, Einar Wegener (Eddie Redmayne), also a painter, to stand in for a female model. Einar slowly develops an attraction for the female physical appearance and begins living as a woman named Lili Elbe. Lili becomes the first ever recipient of male to female sex reassignment surgery, and while Gerda is supportive, the transition causes considerable strain to their marriage. "The Danish Girl" is worth seeing for the strong performances from both Oscar-winner Redmayne ("The Theory of Everything") and Viklander ("Ex Machina"), and the slow-moving character study often plays like a delicate flower or antique figurines, you're really afraid they'll break or crack at any moment. Hooper, who's used to period pieces such as "Les Miserables" has a nice, soft touch with the material and evokes the period well, with all the first-rate, lovely sets, costumes and the compelling musical score from Alexander Desplat that give an beautiful antique shop feel. With that in mind, "The Danish Girl" is much more tame than you might expect, though it features two of the year's strongest performances from Redmayne, who'll be in the running again this year, and Viklander, as the conflicted couple going thru some unusual changes; their heightened emotions keep it from more than being just about dress up, but a compelling movie about identity and gender roles.  Based on a fictional book about the couple, it takes many liberties: real life Gerda and Einar/Lili divorced early on, and Lili was less supportive than portrayed here, but it makes for compelling movie-watching. Expect many award and accolades to come to this movie, and while that may be overrating it just a bit, "The Danish Girl" is still a satisfactory look at a pioneer in the transgender movement.

In the Heart of the Sea - C

Rated PG-13, 121 minutes

Chris Hemsworth

The new action drama "In the Heart of the Sea" tells the story behind the story, in this case the story behind the classic American novel "Moby-Dick." Directed by Oscar-winning director Ron Howard ("Rush") and written by Charles Leavitt ("The Express") based on Nathaniel Philbrick's nonfiction novel of the same name, it's one of those slick, well-made movies with a few compelling moments that you like but not exactly love, mainly because it lacks genuine epic bravura and depth. As told to author Herman Melville (Ben Whishaw) by an elder, lone surviving crew member: In 1820, crewmen (Chris Hemsworth, Benjamin Walker, Cillian Murphy) aboard the New England vessel Essex face a harrowing battle for survival when a whale of mammoth size and strength attacks with force, crippling their ship and leaving them adrift in the ocean. Pushed to their limits and facing storms, starvation, panic and despair, the survivors must resort to the unthinkable to stay alive. Their incredible tale ultimately inspires Melville to write "Moby-Dick." Part action yarn, part inspiring survival story and part behind-the-scenes portrait, "In the Heart of the Sea" is one of those big films so intent on unleashing the whale that it overlooks many of the ideas that inspired Melville's famous story, such as morality, leadership, God and the many complex dynamics of being on sea for months, even years at a time. The first part of "Sea" is its most compelling, filled with some decent, energetic moments and the big CGI whale with its large white tail splashing in the air, which is impressively handled by Howard and company, with his cinematographer Anthony Dod Mantle, who worked with him on "Rush" providing some colorful photography of the nice visuals and first-rate sets and costumes. Unfortunately, the film peaks about midway through and once the whale largely disappears the movie becomes much less enthralling, with the lackluster survival aspect of the film giving some disconnect to the Melville scenes and "Moby-Dick" in general (and after all the effort to get the story, it seems a waste when Melville says he won't use all of it). Gleeson is by far the most memorable actor in the film, and while Hemsworth grounds the film in eye-candy fashion, even in his frailest moments in the last act, he isn't a strong enough actor to provide a genuine emotional payoff and depth the film needs, and it makes me wonder what a stronger actor like Christian Bale or Michael Fassbender could've done with the role. "In the Heart of the Sea" isn't a terrible film, it just aspires to be a big fish story that's really something much less.

45 Years - B+

Tom Courtenay and Charlotte Rampling

Rated R, 95 minutes

Every marriage or long relationship is filled with highs and lows and inevitable disruptions that must be dealt with. The quietly compelling, superbly acted drama "45 Years" deals with a major marital disruption, one that threatens the unions with its emotional undercurrents. There is just one week until Kate Mercer's (Charlotte Rampling) 45th wedding anniversary and the planning for the party is going well. But then a letter arrives for her husband Geoff (Tom Courtenay). The body of Geoff's first love has been discovered, frozen and preserved in the icy glaciers of the Swiss Alps. By the time the party is upon them, five days later, there may not be a marriage left to celebrate. Directed and written by Andrew Haigh of the TV show "Looking" and based on David Constantine's short story "In Another Country," the low-key but satisfying drama deals with marital complexities, especially when one is unable to deal with what starts as a minor issue. The mesmerizing performances from veterans Courtenay (of "Doctor Zhivago" and "The Dresser") and especially Rampling (many credits, including TV's "Restless" and "Eye of the Storm") whose strong turn as the shattered wife is filled with many memorable scenes, including many unspoken expressions and glances, and it's to her credit her face can speak a volume. It's not a surprise that Rampling's subtle, quietly unnerved performance is garnering rave reviews and Oscar buzz, though she is long overdue for even a nomination. Her final scene, at the couple's anniversary party, will stay with you long after the movie is over. The talky yet emotionally involving "45 Years" is essentially a two-person play, unassuming but remarkable how these two, especially Rampling, is able to hold up. Worthwhile for the exquisite turns from Rampling, who is deserving of an Oscar nomination, and Courtenay.

Youth - B

Rated R, 118 minutes


Michael Caine and Harvey Keitel

"Youth" is about old people. Specifically old people longing for their youth. Handsomely filled, well-acted but uneven and flawed, "Youth" strikes a compelling chord about what it's like to grow older. The movie is about two longtime friends vacationing in the Swiss Alps: Fred (Oscar-winner Michael Caine), an acclaimed composer and conductor, who brings along his daughter and assistant Lena (Oscar-winner Rachel Weisz) and best friend Mick (Harvey Keitel), a renowned filmmaker struggling to make a comeback with his upcoming film. While Mick scrambles to finish the screenplay for what he imagines will be his last important film, Fred has no intention of resuming his musical career. The two men reflect on their past, each finding that some of the most important experiences can come later in life. Directed and written by Paolo Sorrentino of the Oscar-winning foreign language film "The Great Beauty" (2013), "Youth" is an enchanting, sometimes poignant, other times odd portrait of growing older gracefully; when it veers off into some unusual subplots it doesn't work as well, but screen legends Caine and Keitel have a warm chemistry that lights up the film. The movie's reflective moments can be ones of great beauty, then enter some odd, quirky characters, such as Paul Dano's struggling actor, Lena's cheating husband (and Mick's son) (Ed Stoppard) or Mick's chatty screenwriting friends, and it tends to throw the movie off a bit; it also falters when screen veteran Jane Fonda sweeps in near the end in a campy, biting cameo - if she gets an Oscar nomination for Best Supporting Actress, which this is being buzzed for, it will be undeserved. The ending is dark, brave and somewhat beautiful, and Fred's original piece, "Simple Songs," written specifically for the movie by Grammy-winning musician David Lang, is a lovely coda to the story and definitely worth an Oscar nomination. "Youth" is worth seeing, mainly for the chemistry from Caine and Keitel.

James White - B

Cynthia Nixon and Christopher Abbott

Rated R, 85 minutes

The powerful new independent, low-budget drama "James White" is a compelling look at maturity, family relationships and struggling to find your way in life. Directed and written by Josh Mond in his directorial debut (he produced "Martha Marcy May Marlene"), it's a semi-autobiographical coming-of-age story that's well-grounded by its superb performances. James White (stage actor Christopher Abbott of TV's "Girls" and Mond's "Martha Marcy May Marlene") is a troubled twenty-something trying to stay afloat in a frenzied New York City. He retreats further into a self-destructive, hedonistic lifestyle, but as his mother ("Sex and the City's" Cynthia Nixon) battles a serious illness James is forced to take control of his life. As the pressure on him mounts, James must find new reserves of strength or risk imploding completely. The well-acted, dark "James White" has a loose, informal visual style that takes you into the world of a New York City millenial who is forced to stop slacking and make a valuable contribution to society. Newcomer Abbott, who has acted mostly on stage, grounds the film well and captures James' fragility and immaturity perfectly, and Nixon adds some nice shades of instability as his mother who needs his help but is unsure she can completely rely on her son. Shot by acclaimed cinematographer Mátyás Erdély of the upcoming "Son of Saul" (excellent, and expanding in January to wide release), the film's jumpy camera work is sometimes a detraction, but it still helps capture of the film's better, more human elements. Once James transitions to more responsibility and his mother's all-consuming care, the film has some poignant moments. "James White" is a small, little-seen and satisfying film that deserves to be seen.

Chi-Raq - B

Rated R, 118 minutes

The provocative, relevant new Spike Lee dramedy "Chi-Raq" is  a powerful satire on gun violence, though its more uneven moments tend to sway toward the bombastic. The movie, directed and co-written by Lee, is a modern day adaptation of the Classical Greek play "Lysistrata" by Aristophanes in which women withhold physical affection from their husbands as penance for fighting in war. After the murder of a child by a stray bullet, a group of women led by Lysistrata (newcomer Teyonah Parris), whose boyfriend Chi-raq (Nick Cannon) is a gang member and burgeoning rapper, organize against the on-going violence in Chicago's Southside creating a movement that challenges the nature of race, sex and violence. The well-acted, well-cast and wholly original "Chi-Raq" has some good, if not occasionally preachy, statements to make about gun violence, a relevant topic even this week given the tragic San Bernadino, California murders. Lee works best when he lets his story naturally flow instead of interrupting the narrative flow to make a statement about gun control; the story itself is an engaging one (and most of the dialogue is in rhyme), and the talented cast make it work, including Parris and Cannon as the young lovers, Samuel L. Jackson as Dolmedes (cast as a street preacher here), Angela Bassett, Jennifer Hudson, John Cusack and Wesley Snipes, playing against type here comedically as a doofus gang member. The rap/R&B infused soundtrack, including Cannon's opening tune, are also noteworthy and add some nice texture to a flawed film that occasionally stumbles due to Lee's heavy-handedness (and Cusack is miscast as a preacher, even if that really was the point). Even with its flaws, "Chi-Raq" is a compelling satire and Spike Lee's best film in years.