Will the latest Hollywood version of a Tony-winning stage production play to another empty house just like “In the Heights” did? It could happen given the sometimes savage reviews thrown the way of “Dear Evan Hansen,” starring Ben Platt who originated the role and is now a whole lot older than his teen character. We’ll let you know next week about how we felt about it.
If you’re wary about going to the movies or prefer the comfort of your couch, AppleTV+ has the ideal musical for you, the 9/11-themed “Come From Away.” It’s worth watching more than once and will even bring a tear to your eye.
Other films worth a look is Netflix’s remake of “The Guilty,” with Jake Gyllenhaal dazzling us once more with his intensity; the feminist-fueled period piece “Mad Women’s Ball” on Amazon Prime and the AI sorta rom-com “I’m Your Man.”
Here’s our roundup.
“The Guilty”: Whenever Hollywood remakes a terrific international film — as it does here — there’s good reason for skepticism. One word: “Oldboy.” Another word: Dreadful. Fortunately, Antoine Fuqua’s redo stacks up favorably with its source material by trading a burning-down L.A. for a cold Denmark, While the new Netflix film isn’t nearly as claustrophobic as Gustav Möller’s 2018 pulse-pounder, Fuqua and screenwriter Nic Pizzolatto team for a reinterpretation that punches harder about “the guilt” behind its main character, a dispatch call officer/ex-cop haunted by one ill-fated violent night that ended up destroying his marriage and reducing him into an ashen, twitchy mess. “The Guilty” works mainly because of the versatile Jake Gyllenhaal, who gives another committed performance, one that grows in desperation and excellence as his temperamental Joe Taylor answers an emergency call that hurtles him into the tangled corridors of an abduction. Fuqua (“Training Day”), who has partnered before with Gyllenhaal, doles out the shocks well, but he gets too antsy at times and decides to stray out of the dispatch setting. Wrong move, since it destroys the intense, pinned-in mood. Regardless, “The Guilty” is a nail-biter that makes you almost as frantic and jittery as its lead character. Also check out who are the voice actors on the end of those calls. Impressive. Details: 3 stars out of 4; in theaters Sept. 24, available Oct. 1 on Netflix.
“Cry Macho”: Clint Eastwood’s latest is a flimsy affair, a slow-pokey heart-warmer that shows hints that it could have been something so much better. An effective moment near the end shows that promise, when former rodeo star Mike Milo (Eastwood) laments about the ineffectiveness of being macho. Too bad that potent point is overshadowed by a weak start and a female vixen villain that sets women’s rights back a few decades. Eastwood rights the film once his Texas grouch pairs up with the 13-year-old son (Eduardo Minett) of a standup guy (Dwight Yoakam ) who propped up Mike when was in a terrible slump. Mike agrees to return the favor by crossing the border to bring home a renegade teen living with his temptress and rich-as-sin mom. It all makes for an amiable road picture that never strays from its connect-the-dots predictability. But it does boast the best rooster you’ll likely see in any 2021 movie. Now, that’s saying something. Details: 2 stars; now in theaters and streaming on HBO Max.
“I’m Your Man”: Imagine being presented with the ideal partner. An accommodating, gorgeous robot that’s designed to embrace your every quirk, desire and demand. Ambitious workaholic cuneiform researcher Alma (Maren Eggert) gets just that in the form of dapper Tom (“Downton Abbey’s” Dan Stevens), an exemplary specimen of the male species. Alma isn’t impressed, though, once she gets him home to her Berlin apartment. She ignores him and is cruel to him since she only begrudgingly agreed to participate in this matchmaking experiment to advance her career. We kind of suspect where this will take us. But “I’m Your Man” creates a stimulating ethical debate about artificial life, a worthwhile topic that’s been a theme in films, TV and literature (Kazuo Ishiguro’s excellent “Klara and the Sun” springs to mind). Director/co-writer Maria Schrader’s sorta rom-com avoids talking points and wades into this thorny scenario with intelligence and depth. It’s a smart film that both challenges and charms. No wonder Germany is pitching it as its international Oscar contender. Details: 3½ stars; opening Sept. 24 in select theaters.
“Come From Away”: How could a 9/11-themed musical find something hopeful about the aftermath of that horrific day? This lively filmed production of an award-winning stage piece manages to do that and so much more, tenderly expressing the collective fragileness we all experienced and our instant desire for connection and reinvention in the days following. “Come From Away” centers on an actual, little-known event; when the residents of the scrappy tight-knit town of Gander, Newfoundland, found their community becoming the nesting place for numerous grounded passengers. In that uncertain time, strangers became friends and lovers sometimes became strangers. While the songs aren’t nearly as catchy as those in “Hamilton,” they are witty and say something meaningful. The cast is certainly impressive and as each actor plays various roles, sometimes within seconds from scene to scene. Director Christopher Ashley, who helmed the Broadway show, obviously understands the intentions behind the material and makes tonal shifts from energetic and comedic to reflective and sad seem effortless and seamless. “Come From Away” is a salve for those worrying if we have lost our sense of compassion. Details: 3½ stars; available on AppleTV+.
“The Madwomen’s Ball”: Welcome to the asylum, an 1880’s snake pit in Paris that’s slithering with egomaniacal male doctors who prescribe inhumane ice plunges to female patients and every so often sexually assault them. La Pitié Salpêtrière is an odious hospital where high society shoves and muzzles independent-thinking Frenchwomen who rattle the status quo or — heaven forbid — show a connection with the spiritual realm. That’s the circumstance and fate of upstart Eugéne (Lou de Laâge), dumped there by her embarrassed, chauvinistic creep of a dad. Eugéne realizes she’s stuck in a female hell and defies all in authority. Doesn’t help her situation. Slowly she wins the confidence of a nurse (Mélanie Laurent, who also directed the film), a by-the-book employee haunted by her own past. “The Madwomen’s Ball” is gripping and infuriating, but it isn’t entirely bleak, merely 80 percent bleak with a chance of clearing. The direction and period details are first-rate and there are two very fine performances at its center. Details: 3 stars, available now on Amazon Prime.
“The Gateway”: Despite a weird wrap-up, Michele Civetta’s gritty neo-noir is a find; electric, raw and defiant of sugarcoating. Each character is a St. Louis survivor of life’s hard knocks, battling addiction and/or running from their past. Civetta’s stylized direction and the look of the film punctuates that point, but “The Gateway ” is elevated due to Shea Whigham’s uncompromising performance. The “Broadway Empire” and “Fast and Furious” star plays a worn-out social worker who takes extreme measures to save his client (Olivia Munn) and her daughter from the girl’s terrible father (Zach Avery), freshly released from the joint and wanting to reconcile. Bruce Dern has a minor role but leaves a major impression. So does Frank Grillo, going for broke as the sleazy cartel go-between who has fondness for outrageous Western wear. You might have seen something like this before, but this one is well-made and pulls you into its web. Details: 3 stars; now available on several streaming platforms.
“Lily Topples the World”: It’s easy to see why Jeremy Workman’s upbeat documentary about YouTube domino-toppling sensation Lily Hevesh won best documentary at this year’s South by Southwest Film Festival. Lily’s true story epitomizes a crowd-pleaser. It’s about an underdog 9-year-old who wedged her way into the male-dominated arena of domino building. Through the years, Hevesh has amassed a staggering 1.9 million YouTube followers. After watching just one of her dazzling videos you’ll understand why. Details: 3 stars; available now on Discovery+.
Contact Randy Myers at soitsrandy@gmail.com.
