Fairly Recent Movies: Bros; My Policeman; Aftersun; Old Movies: The Shining; Make Way for Tomorrow

Fairly Recent Movies

Bros

A romantic comedy between two men in their forties in Manhattan: Bobby (Billy Eichner) is an outspoken curator of the new LGBTQ+ history museum; Aaron (Luke Macfarlane) is a lawyer who dreams of being a chocolatier. While the two are not relationship-seeking, their mutual attraction grows.

The humour of this film is its greatest asset: Eichner is hilarious as a mile-a-minute talker firing off some great lines (he’s one of the film’s writers along with Nicholas Stoller, the film’s director). There are also enjoyable museum board meetings that take more than a few fun jabs at victim consciousness among modern activists. Like many other rom-coms, this one includes the conflicts of polar opposite personalities between the two leads. And there’s more enjoyable mockery as the film takes on the dating and sex scenes in the gay world with flawed but funny personalities.

Outside the humour and sharp-tongued sarcasm, there is a warm side to the film (like other rom-coms). For “Bros”, this is best shown during the conclusion with Eichner’s monologue.

An enjoyable film overall.

RATING (out of four stars):  * * *

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My Policeman

Based on the novel by Bethan Roberts, the film takes place in two time periods: in the late 1950s, Patrick (David Dawson) is a museum creator in Brighton, England. He has a secret relationship with Tom (Harry Styles), a police officer who worries about losing his job if his homosexuality is known. Tom becomes engaged to teacher Marion (Emma Corrin) and the three become close friends… for a while. In the late 1990s, the same characters are played by Rupert Everett, Linus Roache, and Gina McKee respectively.

All six actors in both time frames do a great job and the film is directed with compassion by Michael Grandage.

In addition to the main stories, the story inadvertently focuses on what appears to be a contrast between two different planets: life in Britain for gay people in the 1950s vs. the 1990s. This is highlighted in a scene when Roache is at his best when Tom witnesses open affection between a gay male couple in public during the later time frame.

The film might have been more fulfilling if there were more explored about Marion’s character in both time frames. There is also a scene in the 1950s when a secondary character comes out of the closet. The scene seems anachronistic as such information could not likely be revealed so casually during that time period without the fear of losing one’s livelihood . But despite these misgivings, “My Policeman” is a very moving film.

RATING:  * * * 1/2

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Aftersun

Sophie (Frankie Corio) is an 11-year old Scottish girl who lives with her mother. Sophie and her father, Calum (Paul Mescal), who lives in London, travel to a Turkish resort for a vacation together. The film takes place during the 1990s.

This is a very highly acclaimed film that is loved by many so I feel badly about missing out on the enjoyment of it.

The bonding between father and daughter is moving but it doesn’t seem to be enough to sustain the length of a movie. Subtlety is the formula in each scene. There is a lack of plot development which helps most movies maintain interest. And muddled, incomprehensible dialogue is a liability. An exception is a scene in which Calum recalls to Sophie a sad event when he was neglected by his parents. There are signs that Calum has a troubled life but this could have been further explored.

More can be appreciated when knowing important parts of the true-life story of writer/director Charlotte Wells and this is briefly explored by the film’s end. But other directors have done better at using special techniques to make the apparently mundane anything from touching to fascinating. The technique of “Aftersun” is like watching the average home movies of someone we don’t know. In fairness, the two lead actors play well together.

For most, this film was magnificent but unfortunately, I found it to be dull and disappointing.

RATING: * *

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Great Old Movies Seen Again

The Shining (1980 – USA)

Based on the novel by Stephen King: Jack Torrance (Jack Nicholson) is a troubled writer who accepts a winter job as a caretaker at the Overlook Hotel in Colorado during the off-season. He is accompanied by his wife, Wendy (Shelley Duvall) and young son, Danny (Danny Lloyd) who has psychic abilities. During the stay, supernatural events occur that threatens Jack’s sanity and the safety of Wendy and Danny.

The film’s beginning includes a detailed, extended sequence of the Torrance family settling into the hotel before it officially closes to the public. There are many long shots of the camera following people from behind, leading them in the front with the camera moving backward, or occasionally moving sideways. These lingering shots create a mood to lure in viewers and more or less entrap them before the horror begins. Director Stanley Kubrick deserves kudos for this unique approach.

Nicholson is sometimes over the top but mostly gives a great performance in a challenging role – especially the first time he is seen in a mysterious bar. And his delivery of “Here’s Johnny” is unforgettable. Duvall and Lloyd also give fine performances as people who will do anything to survive.

The supernatural elements in the story are occasionally confusing but overall, the story is thankfully uncomplicated for one with such ambition. With so much going for it including the amazing interiors of the hotel plus a thrilling climax involving an outdoor snow-filled hedge maze, “The Shining” rightly deserves its place among the greatest thrillers ever.

RATING:  * * * 1/2

OUTSTANDING ACHIEVEMENT: Directing by Stanley Kubrick

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Make Way for Tomorrow (1937 – USA)

Barkley and Lucy Cooper (played by Victor Moore and Beulah Bondi respectively) are an elderly couple who lose their home due to foreclosure. Four of their five children live nearby but none can accommodate both of them so they must separate and live in different children’s homes. In their new residences, their presences cause tension. The film is based on the play of the same name by Helen Leary and Noah Leary and the novel “The Years Are So Long” by Josephine Lawrence.

There is so much to love about this film. For one thing, it seems to be a true reflection of life during the time it was released rather than the well-intended escapism created to distract film viewers from the troubles they were experiencing during the Depression. This includes the bold exposure of social-climbing ambition, too much busyness, and the cold indifference to the needs of the elderly. The film exposes ‘family’ in a way that is rare in films of its time period and it’s not a glorious viewpoint. The movie is also pleasantly rare (for any time period) to focus on elderly people in lead roles.

During the separation, Lucy lives with their son (Thomas Mitchell), his wife (Fay Bainter) and shares a bedroom with their teenage daughter, Rhoda (Barbara Reed). The tensions in this situation are often funny and ironically, Lucy seems more appreciated by the family’s maid (Louise Beavers) than by her relatives even though it’s clear they are trying their best. One of the best scenes is a conversation in which Rhoda tries to force Lucy to “face facts”. Lucy’s response, flawed as it may seem, has its own logic for someone in her situation and with Bondi’s great delivery with words from screenwriter Vina Delmar, this ends up as one of the film’s most powerful scenes.

Barkley lives with their daughter, Cora (Elizabeth Risdon) and her husband (Ralph Remley). This situation is sometimes over-dramatized but not enough to lessen the film’s impact overall. Cora’s treatment of her father is monstrous, shrewish and seems unreasonable and too much at times. Luckily, Barkley has a better connection with a neighbourhood shopkeeper, Max Rubens (Maurice Moscovitch) who adds necessary warmth to a very cold atmosphere.

The film is at its best during its last half hour when Barkley and Lucy spend rare time together in New York including the hotel where they spent their honeymoon. Here, the two leads bond beautifully as they do their best to deny impending sadness and doom while doing their best with what time they can spend together. They connect so well that everyone they meet enjoys their presence and charm including one who seems contemptuous of the elderly at first but is believably won over by the pair. The final scene is most powerful and heartbreaking due to its restraint and withheld emotions. This is more truthful than a cathartic outburst could have been. And Bondi’s facial expressions in the final frames are to be treasured.

This film is definitely Chicken Soup for the Soul – ironically as chicken soup is significant in one of the scenes. Director Leo McCarey has created a true treasure here.

RATING: * * * *

OUTSTANDING ACHIEVEMENTS:

• Directing by Leo McCarey

• Acting by Beulah Bondi and Victor Moore

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Briefly

Great Movies Seen for the First Time

Streetwise (1984 – USA / Documentary): * * * 1/2