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Where’d You Go, Bernadette Trailer

December 19, 2018 Published by Shari K. Green

WHERE’D YOU GO, BERNADETTE

WHERE’D YOU GO, BERNADETTE is based on the runaway bestseller about Bernadette Fox, a Seattle woman who had it all – a loving husband and a brilliant daughter. When she unexpectedly disappears, her family sets off on an exciting adventure to solve the mystery of where she might have gone.

Director: Richard Linklater

Writer: Screenplay by Richard Linklater & Holly Gent & Vince Palmo

Based on the novel written by Maria Semple

Producers: Nina Jacobson, Brad Simpson, Ginger Sledge

Executive Producers: Megan Ellison, Jillian Longnecker

Cast: Cate Blanchett, Billy Crudup, Kristen Wiig, Emma Nelson, James Urbaniak, Judy Greer, Troian Bellisario, Zoe Chao and Laurence Fishburne

WHERE’D YOU GO, BERNADETTE opens in theaters on March 22, 2019

#FindBernadette

Official Site: Bernadette.Film

Facebook: /BernadetteFilm

Instagram: @BernadetteFilm

Twitter: @BernadetteFilm

Roma Movie Review

December 7, 2018 (updated December 7, 2018) Published by Shari K. Green

‘Roma’ is sensational. It’s also Mexico’s official submission for the category of ‘Best Foreign Language Film’ at the Academy Awards® for 2019. It’s also the kind of film that sneaks up and grabs you when you least expect it. It’s an unforgettable and breathtaking tale of love from the director, Alfonso Cuarón (Y Tu Mamá También, Harry Potter and the Prisoner of Azkaban, Gravity), to his family’s domestic assistant, Libo, that the main character was based on. Working as his own cinematographer, Cuarón captured the beautiful imagery of his past that no one else could have had access to. He forces your imagination back in time to experience what he recalls and to walk through the life of someone he dearly cared for during some of her most blessed and most tragic moments.

Shot in black and white with perfect set and costume designs of the time period, you can’t help but feel as if you’ve stepped back in time with him.

Right away and throughout the movie, Cuarón uses long sequences to get you into the proper frame of mind to watch this ‘love letter’ to the woman who raised him. Cleo is this woman. She’s a very young woman who’s missing out on partying, creating her own dreams and having fun. Instead, she does everything around her employer’s house. What’s made most clear is that she takes care of the children as any mother would, quite honestly, disregarding her own personal experiences for theirs. She’s always scrubbing the floors, picking up dog waste, washing the dishes and doing the laundry as well as seeing to it that the children are woken up, fed and put to bed. She takes the responsibilities involving the children most serious. When they’re in her charge she handles them with love and showers them with attention. She does eventually find time to squeeze in a date or two during at which time she gets pregnant. When this happens, Cuarón shows genuine affection for her and the plight she next finds herself in, just as his family did back then. This leads to one of the most heartbreaking scenes and a strong message to women who feel that they’re alone in moments of crisis. Outside of this, something I found extremely provocative was Pepe throwing hints out of the possible existence of reincarnation. I liked that Cuarón threw it in but this was not the film to explore those thoughts.

‘Roma’ may move too slow for some but if you let go and let the director take you through these occurrences, truly live in the moments you’re witnessing on screen, you’ll be diverted from reality for a while and appreciate the efforts he took to pull you into his memories. Little things in the background of our daily lives are shown here from great perspective, especially when you consider it’s a child’s point of view. He took the time to show them, I hope you give him that time and watch with patience. This film is an artist painting a masterpiece to its most perfect. At times he concentrates on the mundane but while you watch you realize you’re watching life. It’s happening right before you and you can’t turn away. What makes it more special is his way of giving you so much in the most unconventional way he could have found.

Anyway, see this in a large theatre with spectacular sound to get the most out of it. Yalitza Aparicio’s performance of Cleo will move you more when you can feel what she’s going through as well as see it play out. I realize it’s being released on Netflix but do try and catch its theatrical run. I can’t say enough about it. ‘Roma’ is a beautiful film in every possible way and Cuarón was brave to have shot it the way he did with no score. When you think about it, do we have music following us everywhere we go? No. And neither does Cleo. That said, I hope Cuarón gets everything he deserves during Oscar season.

*In Phoenix, you can find ‘Roma’ at HarkinsCamelview Fashion Square on 12/7 and it will be released globally on Netflix on 12/14 and expanded Theatrically.

Mary Queen of Scots Movie Review

December 6, 2018 (updated December 7, 2018) Published by Shari K. Green

In ‘Mary Queen of Scots,’ filmmaker Josie Rourke shows us a dramatic and intense time in history, cleverly focusing on and examining the life of the ever charming, ever bewitching and sharp, Mary Stuart (Ronan), who wants only what is rightfully hers. The film is written by Beau Willimon and based on the book, ‘Queen of Scots: The True Life of Mary Stuart’ by John Guy. The world Rourke creates with cinematographer John Mathieson (X-Men: First Class, King Arthur: Legend of the Sword, The Phantom of the Opera) is flush with color, showing beautiful landscapes however the piece is dark and lonely because though the spotlight is on Mary Stuart, there’s another woman who’s casting a pall over the entire situation. That woman is Queen Elizabeth I (Robbie), the Queen of England. Mary’s very existence threatens her in many ways.

Mary was the Queen of France at only sixteen years of age. Now widowed at the age of eighteen, she wants to be the Queen of Scotland, her homeland. After her husband’s death, she returns to her country of origin to reclaim the throne. This is where she is met with great opposition… and a jealous rival. Feisty and strong-willed, Mary pleads with her cousin to meet her face to face, so they can rule ‘side by side.’ She begs that they not allow men to get in the way of what could be an amicable and peaceful kinship. She wants and asks for unity. Of course, men twist her thoughts and encourage Elizabeth to believe that Mary is more foe than friend. Hungry for power, the men helping Elizabeth govern want to rule over both Scotland and England. Elizabeth is unable to bear a child and they fear what may happen when Mary weds and has a child. This child would then be the next in line to take over and lord over all the land.

This chapter in the tale is tedious. There are a lot of characters to get to know but once you learn everyone’s names and where they fit in the plot, the pacing never slows. You settle in rather nicely, in fact, and the two hours goes by comfortably. Ronan plays a bullheaded and determined Mary who wants to be with a man ‘fully,’ but not if she’s owned by him. Shocking for the day, she is her own woman. You’ll be surprised to learn that who Mary does eventually pick to marry is actually gay. How she handles the situation when she finds out is what endears you to her even more. You’ll find yourself wanting her to succeed and get what she’s due and you’ll need for Elizabeth to see her point of view and share her vision. The script is decent except for the few times when men and their games of war slip in. It wasn’t really needed but the reasons for it are understood.

At times, I was both fascinated and confused by the story. It’s well-done, powerful and intriguing but at times a lot to take in. That said, do not miss a thing! No going up to get popcorn or taking bathroom breaks or anything because every second of screen time is filled with something you’ll regret having missed. The ending when the two women’s eyes fall upon one another for the first time is remarkable. Their conversation is the perfect way to close this film. It’s definitely a watch on the big screen if possible.

Social Media:

Official Website: http://focusfeatures.com/mary-queen-of-scots

Facebook: https://www.facebook.com/MaryQueenMovie/

Twitter: https://twitter.com/maryqueenmovie

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Roma Movie Review

December 6, 2018 (updated December 6, 2018) Published by JMcNaughton

“ROMA” is a fantastic voyage back into the memory of Writer and Director Alfonso Cuarón. It is a lovingly filmed remembrance of his childhood, growing up in Mexico City. His family had a live-in housemaid who becomes an essential member of the family. He pays honor to her, and also to his own mother – both were strong women faced with difficult circumstances. But he has done so by creating this movie, which is an artistic bonanza of talent and beauty. Alfonso Cuarón has already won an Oscar, actually two (2014 “Gravity” – Academy Award for Best Director and Best Film Editing). So he did not have to prove anything. But Cuarón was busy with “ROMA”, working as Writer, Director, Co-Producer, Co-Editor, and Cinematographer.

Beginning back in 1970 and going through 1971, “ROMA” follows a middle-class family in a section of Mexico City named Roma. The mother Sofia (Marina de Tavira) and the father Antonio (Fernando Grediaga) have several young children. To help them with this unruly brood, they employ a young woman named Cleo (Yalitza Aparicio). She comes from a poor family out where the indigenous native Spanish live. But Cleo has been around with the family for many, many years, and she deeply cares for all of them. Also living with them is Teresa (Verónica García), who is Sofia’s elderly mother.

Antonio leaves on a ‘business trip’ to Canada, but the tears from Sofia show that there is a much more ominous reason. They have had marital problems, and he is leaving the family. Cleo steps up to be more supportive, and Sofia needs that support. But Cleo has a boyfriend problem. She has met Fermin (Jorge Antonio Guerrero) who is a very blunt and tough-talking guy. He has big plans for his future, and she woos Cleo with his martial arts skills. But Cleo becomes pregnant, and soon Fermin disappears. She makes a trip out her native village one day, to try and contact him and let him know her situation. But he rebuffs her, and says he has better things to do.

There are exams in the hospital for Cleo, where an earthquake rumbles the entire area. There is a New Year’s outing to Sofia’s relative’s house. It is fun time, until there is a forest fire near the house, and everyone runs out to help stop the fire. There is even help from a man in bear costume who sings a Mexican folk song. There is Cleo and Teresa who go out one day to purchase a crib for Cleo’s soon-to-be-born infant. However, there are street protests and some students are injured and killed. Some of the pursuers chase some people into the store, and Cleo sees that one of the thugs is Fermin.

Cleo is about to give birth during the street riots. The hospital is complete chaos. Cleo finds out that her baby is stillborn, and never had a chance to live. Sofia decides to take all of the kids and also Cleo out on a vacation to the ocean. She lets the kids know that their father Antonio will not be back home to live with them. Cleo is sad about her lost baby, but it is even more difficult for Sofia right now. The kids play in the ocean, but get caught in a strong current. Cleo, even with no ability to swim, goes into the water to make sure they are safe. Cleo becomes even more important in the lives of this family who live in Roma…

This movie is filmed in black and white, and it is almost 100% Spanish language. Many parts are very languid and easy-going. There is a simple story structure and it does not have a whole lot of details in the plot or the delivery. But each scene is constructed in such an artistic way that the movie is beautiful to watch. The sound design is very precise and detailed. A scene of Cleo in the ocean is overwhelming when the waves come in higher and higher. You can hear the roar of the ocean bringing more and more danger to her character. There are some scenes where small details in the background just seem to be astonishing. Such a man shot out from a cannon at a small village fair. Or the scene where the family is eating ice cream, but the main action is in the back where there is huge wedding reception. Or the look out of a window at small store, and seeing hundreds of people fleeing and fighting in the streets. The attention to every detail is very impressive.

Alfonso Cuarón has used “ROMA” to make a statement about the two special women who had raised him as a child. He is taking the memories of his childhood and giving them new life on the Big Screen. But soon, it will be also on the Not-So-Big Screen. After a limited release in theaters, he will also get it released to streaming service Netflix. Some people are not too happy with that. But it will give many more people the chance to see this movie. Perhaps that will gain him the following and the goodwill to spark another Oscar. This time for Best Picture.

Opens December 6th – in Phoenix area, exclusively at Harkins Camelview

The Favourite Movie Review

November 30, 2018 (updated November 30, 2018) Published by Shari K. Green

I recommend you drop everything and see this on the big screen immediately! There’s a reason why so many films come out toward the end of the year. Often that logic is based upon the fact that they’ve saved the best for the last. That would be the case here. ‘The Favourite’ is a significant contribution to the films of 2018. It even far surpassed my expectations in fact. It’s masterfully crafted and incredibly well written. The three lead actresses are exceptionally strong in this, the latest work from the skilled raconteur of ‘The Lobster’ and ‘The Killing of a Sacred Deer,’ Yorgos Lanthimos.

‘The Favourite’ does have an altogether different spirit from either of his previous films. If you do have a strong opinion of his earlier work, you shouldn’t necessarily base your decision on whether or not to see this on your opinion of them. One reason to sit down and give this a watch that stands out above the others is that those films didn’t have this exceptional trio of women in their cast. These same actresses will now be giving the Academy a difficult choice over who to choose for an award and for which award. Not a bad pickle to be in but one they’ll be in to be sure.

The script by Deborah Davis and Tony McNamara was more comical than I had expected it to be which was quite a pleasant surprise. Getting to know the women and fully coming to realize the rivalry between them for the favor of the Queen was as delicious as waiting for a steak to cook that had been marinating all day. The performances undeniably complement the script. That said, some accents can make it hard to understand exactly what they’re saying at times, but this doesn’t distract from your overall enjoyment of the film. You won’t miss the sharp intellect written into the dialogue and the keen wit it took to come up with the story in the first place.

The film is set in England, early in the 18th century. Olivia Colman plays ailing Queen Anne who finds more than just a friendship in Lady Sarah, played by Rachel Weisz. With the position she has put herself, Lady Sarah is essentially running the country. The Queen fully trusts her and makes no decision without her input. Enter young Abigail (Stone) who’s fallen on hard times. She hopes, since they are cousins, Lady Sarah will give her a position in the palace. Jealous of the beautiful young woman, yet enamored with her charms, Sarah gives her work and a place to stay and proceeds to get to know her. With more than kitchen work on her mind, Abigail uses her position with Sarah to get to know the Queen more. Soon, she finds herself in the catbird seat where she accidentally learns more about Sarah and Anne’s relationship than she had bargained for. Being in the right place at the right time, Abigail sees that they’re lovers, as well. She then decides to use this knowledge to her full advantage.

As Abigail moves her piece on the chessboard of life, Sarah starts to get suspicious. The music, politics, relationships, and discourse build from there. The story is impressively structured, and it’ll keep you riveted throughout, enough that I feel confident you’ll walk away possibly considering ‘The Favourite’ one of your favorites for 2018. The ending is pure Lanthimos. When Sarah questions Abigail about whether she thinks she has won, you’re eventually shown what winning would be if she does. A life of being at the queen’s beck and call to rub her ‘leg’ at a moments notice doesn’t sound fun. Is this the life she was looking forward to?

A Private War Movie Review

November 16, 2018 Published by Shari K. Green

After viewing ‘A Private War’ I was surprised to find out who produced it. Not that it was a woman producing such a serious in-depth look at war but that she could have given herself this significantly challenging role but didn’t. The character was uncommonly rich and would have given her more than an off chance at grabbing another Oscar. It was produced by Academy Award®-winning actress/producer, Charlize Theron (Monster, Tully). Charlize has nineteen producing credits to her name and with five projects at this moment in either pre or post-production, it doesn’t look as if she’s planning on stopping anytime soon.
‘A Private War’ is about a journalist and the very idea of journalism being under attack in times of war. Often times what journalists shed light on isn’t appreciated by the people being exposed. These particular regimes are covered extensively through who the film focuses on. It highlights the work of Marie Colvin, played by Academy Award®-nominee Rosamund Pike of ‘Gone Girl.’ Marie Colvin was one of the most powerful reporters we’ve ever seen. She was always brave in the face of danger. Colvin knew that it wasn’t only her responsibility to but took it as an honor to tell the stories of those who could not speak and be a voice for the dead. She wanted to tell the truth when no one else cared enough to and no one else would.

Whether you think it’s a necessary evil or you believe that war is simply sanctioned murder (perpetrated by old men and their egos who send young men and women off to die), there’s no missing the fact that this film is impressive. ‘A Private War’ takes direct aim at both of those points significantly well. And the script not only makes you feel great respect for Colvin, but you also grow frustrated with her stubbornness as you get to know her. First and foremost in her life is the job she has to do. Though she sees and feels an obligation to those she loves, the loyalty to her job of reporting the facts will always take precedent. Who is she if she isn’t injecting those principles into her work and out to the world? She must describe, for her readers, the pains of others. She feels a duty to tell those who might make a difference of the terrible ills she sees. Once she absorbs the suffering and grief, she narrates it for the rest of us. As she puts it in the film, ‘I see it, so you don’t have to.’

On assignment in Iraq, she meets renowned war photographer Paul Conroy (Dornan). She enlists him to help her and, working together from there on out, he never leaves her side. They see a lot of death and it eventually takes its toll. Her time on the frontlines has revealed its scars both inside and out. She’s almost killed while in Sri Lanka but instead suffers an injury. Due to the injury she’s forced to wearing an eyepatch for the rest of her life over her now blinded left eye. She’s bothered by it but you can also see she views it as a symbol of her work and of her own struggles. And perhaps by some, knowing she’s endured the wounds of battle, she’ll be taken more seriously.
The film also affirms the deep trauma that you can’t see. Colvin’s a chain-smoking alcoholic who’s finally pressured into taking time off when she can no longer tell what’s false from what’s real. She suffers from PTSD. Admitting that alcohol quiets the voices in her head, realizes the time away is indeed needed. Paul understands what she’s going through more than anyone and knows she’s addicted to the adrenalin rush. Colvin is in a relationship with a man named Tony Shaw (Tucci) but Paul seems to be the one she reveals more to. He knows she hates war but has to see it… has to reveal it. He’s there with her when she goes to the Syrian city of Homs. Homs is getting more dangerous for them by the minute. He pleads with her but can’t convince her to leave. Armed with her story of profound anguish, she connects with Anderson Cooper of CNN and gives her final interview.

‘A Private War’ is directed by critically acclaimed documentary filmmaker Matthew Heineman who lovingly tells her story with the utmost respect and dignity. It’s entertaining and heartfelt and honest in how it acknowledges her defects but classy in making it known to all of humanity that she loved her work. I highly recommend it for the cinematography, directing, performances and for the Annie Lennox tune at the end. Don’t miss it.

The Ballad of Buster Scruggs Movie Review

November 16, 2018 (updated November 16, 2018) Published by Shari K. Green

Before I get into the meat of this review, let me tell you a few things about the movie for which I reviewed. ‘The Ballad of Buster Scruggs’ is a flick with several short stories within the two hour and twelve-minute film. The first short introduces the fabulously subtle Tim Blake Nelson as ‘Buster Scruggs’ in the segment called ‘The Ballad of Buster Scruggs’ which, by the way, is fantastic! It’s everything you could possibly hope for. It felt to me very much like one of my favorite Coen Brothers movies, their 2000 hit, ‘O Brother, Where Art Thou?’ Once it started, I could see I wasn’t going to be disappointed so I settled in my seat, ready for another gem which, luckily, I was getting. I’m watching Scruggs on his horse and I’m loving it. This is what I came here for!

Buster’s scenes are about a singing cowboy and within the songs, some of the most shrewd and imaginative narration develops from this extremely exaggerated character and the situations he finds himself. His self-confidence makes it even funnier.

You’re a tad rattled when that segment ends, and we move onto the next. This one is called ‘Near Algodones,’ which stars James Franco. Very creatively and artistically, each segment is treated as a chapter book. It’s clever how it prepares the mind for something special. I watched. I waited and was rather disappointed when that extraordinary tale didn’t quite pan out as I had hoped. It was passable but what the film has already given, you look for here… and it just isn’t there. Its narration and some of the humor fairs well enough but it felt too short to allow you any real time with the characters. You can’t know or care much for them so ending it so abruptly doesn’t work. Perhaps the next will be better. No one’s perfect after all. Well, to my dismay, it wasn’t any better. It wasn’t tragic, but it does lead one to wonder what time it is. We want to and need to learn more about these characters before we move on… but we don’t. This is a sizeable lapse in judgment throughout the feature.

The third story is called ‘Meal Ticket.’ It stars Liam Neeson and, to be honest, doesn’t feel much like it fits. It’s about a man taking advantage of another man who’s in desperate need of help. When he can be easily replaced, he is… and it the most horrible way. It’s quite depressing and sad. And it gets altogether boring as it repeats itself. I can’t think of a single thing about this section that could be especially celebrated. However, I did enjoy some of the next narrative. It could be seen as dismal but portions of it made me smile. ‘All Gold Canyon,’ starring Tom Waits as a prospector panning for gold, is visually relaxing. A common theme in each film, though they’re separate from one another, arises. You realize that the lead character in each of the segments dies. However, with this piece, the scenery is so beautiful. As the prospector tears up the land looking for his ‘Mr. Pocket’ of gold, you find that the lead isn’t quite as easy to pick out. With what he’s doing, and what will happen to this paradise, it’s the land itself that will die.

There are more chapters, but I’ll end by saying this. Have no fear. Throughout the film, there does appear bits of sparkling brilliance that I have come to expect from the Coen’s. When these moments come the film couldn’t be better. Each of the stories has proficient and competent hands writing and directing them so why wouldn’t we see their unquestionable talent?! We do but that’s also the unfortunate question. Why didn’t we see it more often? These were anticlimactic. With the way most unfolded, it’ll leave you feeling cheated to a degree.

I’ll boil it down for you as to why. The trailer seemed to have promised so much more. Your sheer disappointment in the film as a whole is evident in how much you cling to hope that each tale improves. Your love for their storytelling will keep you hanging in, which I did, do and always will with their work. I believe the biggest and most obvious problem with this is there wasn’t enough time for development. Each story is GOOD and you want MORE so what was the point in leaving everyone hanging? If they make separate films or a series, which could very well be what’ll happen, I’m invested 100%!! And I sincerely hope they do.

ROMA – Official Trailer

November 13, 2018 Published by Shari K. Green

The most personal project to date from Academy Award®-winning director and writer Alfonso Cuarón (Gravity, Children of Men, Y Tu Mama Tambien), ROMA follows Cleo (Yalitza Aparicio), a young domestic worker for a family in the middle-class neighborhood of Roma in Mexico City. Delivering an artful love letter to the women who raised him, Cuarón draws on his own childhood to create a vivid and emotional portrait of domestic strife and social hierarchy amidst political turmoil of the 1970s. Cuarón’s first project since the groundbreaking Gravity in 2013.

ROMA will have exclusive limited theatrical engagements starting November 21 in Los Angeles, New York and Mexico. Additional engagements in U.S. cities, Toronto and London will begin November 29 with other top U.S. markets and international territories continuing to roll out beginning December 5. The film will be released globally on Netflix on December 14 with an expanded theatrical release in the U.S. and international markets. In total, the film will be theatrically released in over 30 countries globally with 70mm presentations also being planned during the film’s theatrical release.

Social Media:

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Will be released globally on Netflix on 12/14 and expanded Theatrically

http://www.fandango.com

Boy Erased Movie Review

November 9, 2018 (updated November 16, 2018) Published by Shari K. Green

‘Boy Erased’ is director Joel Edgerton’s take on the controversial subject of gay conversion therapy. Edgerton’s adaptation of the Garrard Conley memoir is very powerful. Its subject matter is handled very delicately from the fear it ultimately comes from to the people that fear harms. The film draws from facts, real pain, real experiences, and Edgerton displays it openly for us, showing us one character after another’s experience in this hideous program but then laser focusing in on one character, Jared Eamons (Hedges), to take you deeper into their ordeals. There’s a postscript statistic displayed at the end of the film that, ‘over 700,000 Americans have been subjected to conversion therapy and over 20,000 Americans are currently affected by this abusive practice.’ After watching the film, it’s hard not to walk away stunned especially after being hit with those numbers. It’s appalling to think that in this day and age abuse and humiliating to control and manipulate is still being used.

Jared is the son of Marshall (Crowe), a southern preacher, and his wife Nancy (Kidman). Because of who his father is, Jared must hide who he is. He’s successfully hidden it from the world and even lies to himself. He does this until he’s faced with a female friend who comes on strong. He thinks fast and turns her down with the excuse of waiting until marriage. He navigates his youth and gets to college where he feels safer to relax and at least talk to other boys without scrutiny. He begins to make friends and becomes especially close to a boy his age named Henry (Alwyn) who he has a lot in common with. Henry ends up taking advantage of the naïve preacher’s kid one night and rapes him. This scene is quite horrific, but Edgerton doesn’t shy away from its brutality. He uses it to show that sexual assault and this type of abuse exists in nature and might also be suggesting the reason why some people are the way they are. Violation based on anger doesn’t discriminate based on sex. Jared avoids Henry and eventually goes back home. Henry isn’t happy about his friend leaving him and worries Jared is going to tell o he ‘Outs’ Jared to his parents.

This leads to his father consulting some church elders who decide that his mind could be altered using conversion therapy which is supported by the ministry. He can be cured of his homosexuality if he takes the steps to prove he wants to be cured. The program is similar to AA but heavily Bible-based. It’s led by Victor Sykes (Edgerton) who comes at them from an aggressive, militant angle. He’s going to make them men if he has to pound it into them himself. Jared is instantly miserable but sees that he’s not alone in the world. There are others denying who they really are to make someone else embrace and accept them. Some are worse off than Jared who has it relatively easy because his parents, as misguided as they are, do still love him. He meets Jon (Dolan) who doesn’t touch anyone because touching to him has mostly been physical abuse and Cameron (Sear) who has an extremely hard time with being forced to tell Sykes what he wants to hear. The boys, in their sterile environment, are treated as prisoners but find subtle ways to show support for one another, however, their support just might not be enough.

The gullibility and innocence coming from Hedges is fantastic which is perfectly followed by a passive-aggressive strategy from Crowe to show he loves his son but knows the world he needs to protect him from. Kidman is a perfectly quaffed Southern charmer who’ll turn into an angry mama bear at a moment’s notice and does so magnificently. This story does trail off in different directions but leads back to Jared and his parents, ending with love and forgiveness which is all that Jared and each and every other human being is asking for in the first place.

The Outlaw King (Netflix) Movie Review

November 9, 2018 (updated November 8, 2018) Published by JMcNaughton

“The Outlaw King” is an historical look at what happened in Scotland after the end of the movie “Braveheart”. After William Wallace failed to lead the people of Scotland in a rebellion to gain freedom from England, another person took over. That person was from the family of Bruce, who once had an actual claim to the royal leadership of the Scots. When England took over and held the land for generations, finally a true rebellion grew from the mistreatment. English kings held Scotland like golden goose, always taking the golden eggs. They are leaving only the shells for the Scottish people.

When the failed Rebellion put William Wallace on the run, the Scottish nobles were forced to declare loyalty to King Edward I (Stephen Dillane) The King’s son was Edward, Prince of Wales (Billy Howle). He was put in charge of keeping the Scots in line and paying taxes. One Scotsman was ready to break against the brutal leadership of England. That was Robert the Bruce (Chris Pine). His father was the one to give up the fight and swear the oath to the King. But Robert was not willing. Robert had agreed to be a marriage to an English nobleman’s daughter named Elizabeth de Burgh (Florence Pugh). Robert still had a daughter from his first marriage, but his wife had passed away.

But when William Wallace is found and killed by the English crown, Robert says that the King went back on his word. There is not way to serve a King who is not worthy of trust. So Robert gathers his brothers and talks about a new Scottich rebellion. But his one will be led by a Scottish King. That King would be him, of course. Robert the Bruce meets with his main rival, John Comyn (Callan Mulvey). But he does not get Comyn’s agreement to make Robert the new King of Scotland. So, he kills him. But there are enough clans of Scotland who believe in the royal line of Bruce, that Robert is crowed King of Scotland.

The King of England and Prince of Wales begin a military campaign to destroy Robert the Bruce and all of his followers. They will fight without civility or chivalry, so that any action is acceptable. Just before the first battle, the English troops attack the nighttime camp of the Scottish army. Robert’s troops are unprepared, and many are slaughtered. They are declared ‘Outlaws’ by the English crow, and anyone helping them will be arrested or killed. Robert is on the run, an ‘Outlaw King’. His wife Elizabeth and his daughter are taken by the English and held prisoner. Robert the Bruce has few loyal warriors who are still with him.

Some of his fellow freedom fighters are Angus Macdonald (Tony Curran) and James Douglas (Aaron Taylor-Johnson). Robert, along with his brother Neil (Lorne MacFadyen), run into other clans which are against him. There are clashes between the clans. Robert loses many more warriors, but he comes up with ways to fight the English intruders. The English are staying in Scottish castles and Robert needs to fight dirty. They all attack with surprise and take back, then burn, each castle.

When the new King of Scotland cannot be captured by the English, he become more famous and he attracts more fighters. Then will be a final battle of the rag-tag Scottish forces, against the fully equipped and much larger English army. With English soldiers on horseback and with ‘modern’ weapons – the Price of Wales plans to crush the Scots. But The Scots have a few deadly tricks up their kilts, er, I mean sleeves…

“The Outlaw King” is very beautifully photographed look at the period after William Wallace. This movie would make a great double-feature with “Braveheart”. There is a good many brutal battle scenes that are tough to watch. The ‘Mud and Blood’ view of the fighting is close-up and is raw and wild. The acting is good from all the main characters, and the Scottish accents are fairly on target. Chris Pine is stoic and sullen, as the flawed leader of the Scots. The sense of “Ye Olde” England and Scottish countryside is very convincing. The movie drags a slight bit in the middle section, but the final battle between the two armies is a stirring, yet very disturbing, masterfully-filmed sequence.

“The Outlaw King” will have a limited release in the theaters. Then on November 9, it will be released for streaming on Netflix.

Tag: Drama

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