You couldn’t choose a more timely moment than in 2022, the year when Roe v. Wade was overturned a half-century after its original implementation to make a film like Call Jane; a historical drama about the Janes, a group who provided underground abortions in the 1960s for women in need. I’m not here to take a knee-deep stance on the politics one way or another, but what cannot be refuted is that the film is important now more than ever. Bear in mind, the film was shot well before the decision to overturn Roe v. Wade was made as it premiered at this year’s Sundance Film Festival in January. But aside from what Call Jane has to say, does it succeed in its delivery? Well, on occasion, yes. The first half of the film is noticeably stronger than the second act which seems so directionless that it delves into contrived drama just to keep viewers somewhat alert as to what’s going on. Elizabeth Banks delivers great work, but she can’t save the film from its ultimate demise.
Joy (Banks) is a housewife in the 1960s who discovers that she is pregnant with her second child. However, this pregnancy takes a physical toll on her and threatens her life. She attempts to plead her case for a legal abortion to no avail (it is a bit mind-boggling that such a decision is left in the hands of a table full of men, no?) and is left in desperation mode.
As a result, Jane is left with very few options and she somehow ends up coming across the Janes, an underground group of women that provide abortions to women for a fee of $600. This is where Joy meets Virginia (Sigourney Weaver), the ringleader of the group. After her procedure, Jane decides to join forces with the Janes and takes on an important role in the group. For the sake of spoilers, I won’t say exactly what that role requires.
For someone who primarily knows Banks from Zack and Miri and The 40-Year-Old Virgin, it’s a nice change of pace to see her in a dramatic role. She carries the film, and she does a wonderful job portraying the wide range of emotions conveyed by Joy in the early goings of the film. During her first meeting with the Janes, Banks conveys Joy’s naivety, anxiety and trepidation all in the confines of a three-minute scene. She’s remarkable in the role and shows the most interest in what’s occurring on-screen.
That’s not to completely write off Weaver, who has jumped from the recent comedy The Good House, in which she shared the screen with Kevin Kline, to a pro-choice film. Weaver is fine in the scenes she has, but she’s so sporadically used that it feels like the role given to any big actor that is used on the poster of those straight-to-DVD or straight-to-Redbox movies a la Frank Grillo and Bruce Willis. Weaver has a role, sure, but she just feels underused.
It would appear that the events of Call Jane are fictional despite it featuring the Janes. That does beg the question of why the film decides to gloss over certain events such as members of the Janes being arrested before Roe v. Wade ultimately freeing them. Maybe a feel-good ending was desired, or the film just didn’t have any room in its script for this type of scene. Either way, knowing this in hindsight makes the ending of the film feel a bit strange considering the jump that’s taken and what’s looming in the backdrop of the final scene.
But outside of its important message and just as a film, Call Jane lacks any sort of pizzazz. Not that every film needs to cram its blocking or have wild cinematography, but there’s very little about the film that feels special. I guess cinematographer Greta Zozula gets a couple of tracking shots, but outside of those, the film’s framing is just so bland. The score, composed by Isabella Summers, actually does start strong. They pair a classic Hollywood score with the opening tracking shot. My Shazam didn’t recognize the song, so I’m going to assume that this was Summers’ work in this particular scene. It’s just a shame that her score isn’t allowed to really shine anywhere else.
Bland also describes the film in its second half. Call Jane is at its best when it’s taking a close examination of one particular case. We see Joy discover her pregnancy, begin feeling discomfort, plead her case for legal abortion, get recommended a shady alternative (acting suicidal to psychiatrists), discover the Janes and then actually get the procedure done all before she ever joins the Janes as a part of the team. As a result, there is something inherently gripping because you care about the character. Not to say that you don’t care about some of the other patients and women you see, but there’s not an emotional connection and simply put, the film feels distant once Joy joins the Janes. It’s just so dull and the film crosses the finish line like a car that’s on its last legs.
Maybe because of most of the second half’s aimlessness, Call Jane needs to have some conflict to wake up audiences. And since the film is fictionalized anyways, why didn’t they come up with anything better than creating internal drama between some of the Janes including a brief spat about race? Sure, I think that the central conflict about deciding who gets the free abortions is worth talking about, but Call Jane doesn’t do anything much more than pit Gwen (Wunmi Mosaku) in a shouting match with Virginia.
Also, why have an actor of Kate Mara’s talent and name recognition to simply put her in the film as a secondary conflict? She’s in the first 20 minutes pretty prominently and only makes cameo appearances throughout the rest of the film just to add a potential conflict with Will (Chris Messina), Joy’s husband.
It’s hard to dismiss a film with such an informative and powerful message, but I think it’s important to remember that anytime someone decides to choose film as their vehicle (or medium) for their rhetoric, it’s important to not bore your audience. Call Jane does have things to say that should be heard, but I couldn’t blame anyone for dozing off after the first 45 or so. One of Banks’ best performances can’t save a film that may have bit off more than it could chew.
Call Jane had its world premiere at the 2022 Sundance Film Festival on January 21 and is in select theaters now.
The Fabelmans Review | For the Love of Movies
Leave it to Steven Spielberg to make the best entry in the “kid who loves movies” subgenre.
It’s funny, it feels as though the “kid who loves movie biopic” trope has become a subgenre of sorts in recent years. I think in my mind, the likes of Belfast — a film that isn’t about a love for cinema — and Hugo — a film about a love for cinema — and Empire of LIght — which seems to be a film about a love for cinema — have overlapped. Sure, I know they are different, but it feels like every filmmaker aspires to make a film loosely based on their life and that really laments the fact they do indeed love cinema. Steven Spielberg’s addition to the genre, The Fabelmans, very well could be the best of them all but is not without its flaws. Do I understand the complete critical acclaim and most calling it a Best Picture shoo-in? I understand it, yes. The Fabelmans is the perfect critical darling about one of cinema’s most influential filmmakers yet it’s like Rolling Stone reviewing a Paul McCartney album. Will they give a negative review to one of the world’s greatest musicians? Hell no. The Fablemans isn’t as bad as McCartney’s worst album, but I also struggle to completely get on board with the notation that this is the best film of the year.
“Movies are a dream, doll — you’ll never forget them,” promises Mitzi (Michelle Williams) in an effort to calm her anxious young son who’s about to enter a movie theater for the first time. As they say, your mother is always right, and after Sammy Fabelman (played by Mateo Zoryon Francis-DeFord in his younger years and Gabrielle LaBelle in his teenage years) is taken to the cinema for the first time by his parents Mitzi and Burt (Paul Dano), his fascination with the art of filmmaking intensifies. Like a young child before they can speak, he just has a hard time expressing that. He watches The Greatest Show on Earth and the sequence where a train crashes into a car lingers in his mind well after the reel stops playing. This leads to an obsession until he receives some toy trains for Hannekah and it’s not until he films it that he finds some catharsis.
And Sammy has talent, wouldn’t you know! From his early days of filming his toy trains, he also exhibits a Roger Deakins-like ability to capture images on film. This continues into his formative teenage years, bringing joy and pride to his entire family as they watch the evolution of his craftsmanship at every boy scout meeting.
But like real life, there is a world outside of movies. Sammy’s parents, after initially settling in Phoenix, move to northern California where the Fabelmans are outcasts in the land of giants. Sammy is picked on by a group of jocks and it’s a miserable experience. Add to the fact Sammy holds onto a secret involving his mother and his “uncle” Bennie — who is not really part of the family and is only at family gatherings because he “works for” Burt, according to his mother.
All that critics have talked about are the performances of Williams and LaBelle. They’re both great — especially the former — but why are we overlooking Dano and Francis-DeFord? Considering that most of Dano’s roles consist of him breathing funny and whimpering in his speech, it’s weird to see him in such a humane role. It’s like seeing Tim Roth in films like Reservoir Dogs and The Hateful Eight and then watching him play a screenwriter in Bergman Island. It’s truly remarkable. Francis-DeFord is just adorable as a younger Sammy and I wish we had gotten even more of him before advancing a few years. See the still below to catch a glimpse of the anxiety on his face while watching his mother watch one of his films. If you are close to your mother, you’ve likely had a similar moment at some point.
Williams is the emotional anchor of the film and is great on her own and in her scenes with LaBelle. As her life continues to derail along with her mental stability, Williams adds empathy to the character despite some shitty actions her character commits. Maybe it’s the “mama’s boy” in me but my heart just melted seeing her reactions to Sammy’s films, the pride and joy her son’s hobby — sorry, passion — brought her.
I know that we all love Rogen, but he’s surprisingly good in the film. Don’t fret, his signature laugh makes its way into the film on a handful of occasions, but despite shitty actions much like Mitzi, you can’t completely despise Bennie. Something about Rogen’s aura and connection with the Fabelman kids feels in line with that family friend whom you call your uncle. Bennie’s also the “cool uncle” who overshadows Burt at every point. Whether intentional or not, we all know how it feels to constantly be pushed down by your good friend yet you still can’t give them up.
It’s also great to see Once Upon a Time in Hollywood scene-stealer Julia Butters in another role. She plays Reggie Fabelman, one of Sammy’s sisters, and it’s a great way of getting back on track after starring in The Gray Man (which is essentially shooting yourself in the foot). She has quite a turbulent relationship with Sammy and is always there to stick up for her mother when Sammy is being harsh.
Ironically, towards the end of what feels like the end of the film, Burt says to Sammy, “We’ve gone too far into our story to say ‘the end.’” The Fabelmans feels like it has finally reached its natural catharsis and while it always kept my attention up to this point, I felt we had emotionally peaked. Unfortunately for me, the film then proceeds to go on for another 15 minutes to utilize an admittedly great cameo from David Lynch that is equal parts brilliant and unnecessary. This epilogue wasn’t enough to completely sour my thoughts on the film but it did leave a bad taste in my mouth.
My biggest complaint, however, is with one particular bit in the film. Most of the humor in The Fabelmans was fine, but I want to preface this by saying that I think there are some tasteful ways of taking digs at Christians — just look at Honk for Jesus or The Eyes of Tammy Faye — but there’s a bit in The Fabelmans revolving around Sammy’s first girlfriend, Monica (Chloe East) that just didn’t land for me. I’m not posing as a “Holier than thou” Christian — I’m far from a practicing Christian — but there’s a recurring bit revolving around the term “praying” being used as an innuendo for kissing. Sounds harmless enough, right? The issue comes in the actual portrayal of Monica, which is reduced down to a caricature of a “Jesus freak” more than anything else. So yeah, Monica prays, she wishes for the Lord to “come inside her,” but it’s not until Sammy asks the Lord to “come inside him” that they can kiss. Again, I’m not saying Christians should be immune to jokes as they have been for years, but this bit felt weirdly out of place considering the fact that Monica acts relatively normal in any other scene. To her credit, East goes for it all.
There’s an intrinsic magic within the confines of the 150-minute runtime of The Fabelmans and you just know you’re witnessing something special. Spielberg is one of the most influential figures in all of cinema, and while I may not be the world’s biggest Jaws or E.T. fan, this is a filmmaker that brought the Indiana Jones series to life and made my childhood. Perhaps this is why I’m lenient enough to ignore some of the cliches in The Fabelmans. I also found that Spielberg subverts expectations in his own subtle ways. For example, Sammy gets bullied by the jocks — namely Sam Rechner’s character — but Spielberg found a way to subvert expectations in this cliched subplot. It’s not that Spielberg completely flips the expected outcome on its head. Rather, he finds a new route to get the characters to the same endpoint most of these coming-of-age films come to. That final scene between LaBelle and Rechner is admittedly great and this is where I really would have liked the film to commence
While this subgenre of “directors making movies about loving movies” is on the verge of becoming cliche, I think Spielberg’s message of creative expression and doing what you want is valuable. The Fabelmans isn’t perfect, and I fear its reputation will become tainted in the coming months should it be the Oscar front-runner everyone expects. As of now, it’s the perfect Thanksgiving film for you and your family and as vulnerable as a filmmaker of Spielberg’s stature will be.
The Fabelmans is playing in select theaters now.
The Wonder Review | Florence Pugh Carries a Film That Leaves You Hungry For More
The film hits Netflix this Friday.
There haven’t been many films with a viewing experience as frustrating as The Wonder, a new film starring one of the world’s finest actors, Florence Pugh. The Wonder is a film that has practically everything going for it from solid performances, amazing behind-the-camera and a plot that sounds interesting on paper, yet, something’s missing. Perhaps due to pacing or runtime issues, it’s truly a wonder (I’ll see myself out) that I didn’t fall asleep during this film.
Opening with a spinning shot in what appears to be a rehearsal space for a stage production, The Wonder quickly brings us back in time as Lib Wright (Pugh), a young nurse, is sent to a small village in Ireland to watch over a young girl who hasn’t eaten in months (four, to be exact).
This girl, Anna (Kíla Lord Cassidy), and her entire family swear on the fact that she has not eaten anything since communion in church four months prior to the events of the film (those thin wafers smack, to be fair). However, one thing leads to another, a journalist gets involved, and above all else, Lib begins having suspicions that this miraculous case is closer to a scam that is well short of a miracle as big as The Second Coming.
But if only it was that easy! Lib tries her best to plead her case to the committee that placed her on this case to no avail. From there, she’s basically gaslit until taking matters fully into her own hands.
There’s no better place to start than the below-the-line work on this film. The cinematography beautifully captures this dreary island in Ireland in an oddly similar fashion to The Banshees of Inisherin. The film also appears to be shot on film — or my stream was buffering that much — and features an ethereal score composed by Matthew Herbert. The set and costume design is simply wonderful. All of the behind-the-scenes work is a large part of why any part of the film works. There’s such simplicity in all of it, but there are qualities that make a film about a girl on an infinite fast seem grounded. The craftwork also goes a long way in making the film feel like a part of the time era and pulling you into it. The film supposedly takes place in 1862, and aside from the opening and closing shot (which ties the opening in a neat bow), there’s no doubt that this film takes place in that time period. It’s truly amazing how great the sets and costumes look; and I love the subtlety of visual cues such as the line of the table, perfectly placed in the center of the frame, lining up perfectly with the line on Lib’s dress. It’s such a small detail that Wes Anderson fans would likely appreciate with all of the perfect symmetry found in his films.
And Pugh is expectedly the standout of the film that does a majority of the hard carrying. However, Kíla (her real-life mother, Elaine Cassidy, plays her mother in the film as well) also holds her in. Specifically, there is a scene where Anna really opens up and shares a traumatic experience with her brother with Lib. While the camera does shift between Anna and Lib throughout the scene, Kíla really delivers a heart-wrenching monologue a la Rebecca Hall in Resurrection. There’s little to no score in the background, so the weight of the scene is really on Kíla’s shoulders; who knocks it out of the park.
This traumatic experience also blows the film’s most intriguing theme wide open. This idea of Christian guilt and the morality of Christian worldviews. For the sake of spoilers, I won’t reveal the contents of Anna’s story. What I will say, however, is that what happens would be considered “unethical” in any religion. But because of the fact that Anna is a girl, there are certain expectations placed and she’s seen as a disappointment as a result. Does someone really deserve to die when they are the victim? This moral conflict that mixes misogyny and religion together is by far the most interesting thing presented in the film. If only it delved deeper into it.
As the film progresses, Anna’s condition worsens — especially after Lib catches on to one potential theory that would explain how Anna can live for all of this time. It’s no secret that it’d take a miracle big enough to feed five thousand to be able to live off of no food for a third of a year, and once Lib begins sniffing around, Anna begins to get worse. As a nurse, what do you do? Generally, your mission is to serve and aid your patient. In Lib’s case, her mission was the watch over Anna with little interference. Strange, right?
The Wonder has an intriguing premise and is well-crafted. Its biggest faults come in the pacing of the film, which makes it a slog to get through it. Pugh and Cassidy are a great pairing and both give good performances, but the film is far from memorable otherwise. Ultimately, the lack of movement in the plot will leave you hungry for more.
The Wonder is in select theaters now and is streaming on Netflix now.
Spirited Review | An Instant Christmas Classic
A festive must watch packed with a star studded cast, gut busting humor and catchy musical numbers.
It’s not very often a brand new Christmas movie becomes an instant classic, but here comes Spirited offering all the festive magic you could wish for and more.
Spirited comes with a wholly fresh and original story despite the infamous material it’s based upon. Stacked with a stellar cast, gut busting jokes and catchy tunes, Spirited is a Christmas movie that deserves a watch every Christmas season.
A musical adaptation of Charles Dickens’ beloved A Christmas Carol, Spirited follows the Ghost of Christmas Present (Will Ferrel) who attempts to redeem an unredeemable (Ryan Reynolds).
It’s safe to say that there is no shortage of A Christmas Carol adaptations, from the classic 1951 A Christmas Carol, to Bill Murray’s Scrooged and even one involving the Muppets (my favorite). Spirited decides to take the familiar Charles Dickens tale and turn it on its head, making the film feel completely fresh and original despite the material it’s based upon, and results in an adaptation that is easily among the best.
Delivering a story that is so refreshing, Spirited excels in its own original plot, making each twist and turn feel earned and truly unpredictable. These twists are brilliantly executed, and are undeniably impactful. Forcing audiences jaws to drop to the floor as well as hitting them right in the feels in some very emotional moments that are sure to make audiences tear up.
The comedy is pitch perfect, each joke is hilarious and are expertly executed by the film’s cast. The musical numbers are just as funny as they are lavish, excelling the films comedy. Spirited all in all comes together to deliver one of the funniest Christmas ever.
Ryan Reynolds and Will Ferrel are unsurprisingly dynamite on screen. Hilariously bouncing back and forth from each other whilst also hitting on all the emotional moments that will be sure to make you shed a tear or two. When you put two brilliant comedic actors, possibly two of the best in the genre on screen together what else could you expect. Similarly, the rest of the supporting cast is brilliant with Octavia Spencer once again showing the world why she is one of the best in the business.
Spirited offers many catchy songs, of which you will find yourself singing or humming along too long after the film has finished. The musical numbers are big, exciting and infectious, that are excelled by the cast, who all deliver surprisingly brilliant singing voices. I know I will be adding each song to my playlist.
All in all, Spirited is a must see Christmas film that is sure to become an instant classic. Offering a new and genius take on Dickens beloved tale, packed with gut busting humor, catchy musical numbers and a stellar cast.
Spirited release on Apple TV+ this Friday, 18th November.
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