Dogs Bark

This Dog Can Hunt - - Old Henry (2021, USA, Color, 99 min) - - 23 February 2022

Recommended. Old Henry is a remarkable picture . . . made by untested writer/director Potsy Ponciroli (Ted K), who seems as much a cypher as his protagonist, Henry McCarty. He’s helped by Tim Blake Nelson (O Brother, Where Art Thou?) in one of his all-time best performances, scandalously ignored by the Academy. The film is also assisted by Stephen Dorff (Cecil B. Demented). If you know your Western history, the central mystery of the story (still a current day dispute) is quickly solved. Dorff’s character is also - - partly - - based upon a real person. These numerous Easter eggs don’t detract from the stark, simple beauty of the filmmaking, reminiscent of Kelly Reichardt (Meeks Cutoff). One wonders how the mystery will be wrapped into the conclusion and this is the only disappointment. The central adversaries morph into Western supermen, dry-gulching the thoughtful character development to that point. But regardless, Old Henry is an enjoyable film.

Cancel My Subscription, Please - - The French Dispatch (2021, USA, Color, 107 min) - - 14 February 2022

Not recommended. If you’re a Wes Anderson (The Royal Tenenbaums) fanatic, then you don’t need my approval but if you are like most of us and like parts of his various films but are not neurotic about them . . . this is not for you. Bill Murray (Caddyshack) plays a dead editor in the fashion of a William Shawn, of a magazine in the fashion of The New Yorker. The usual Anderson company is assembled, including Benicio del Toro (The Usual Subjects) for three quirky, disjoint, and - - ultimately- - tiresome strolls through a fictional French town, named ‘Ennui-sur-Blasé.’ Indeed! The characters all have jokey names, too, and the problem is that whenever the film strays into real charm - - for example, the last exchange between Jeffrey Wright (Cadillac Records) and Steve Park (Fargo) - - Anderson’s cleverness empties it out. Of course, there is a message herein . . . but who has time to look?

Sophie’s Sister - - The Lost Daughter (2021, Greece/UK/USA/Israel, Color, 121 min) - - 11 February 2022

Strongly recommended. Not since Robert Redford directed Ordinary People has a directorial debut been as unexpectedly strong as The Lost Daughter. Even in her Oscar-nominated performance in Crazy Heart, Maggie Gyllenhaal never displayed such dramatic depth and craft as she does in The Lost Daughter. The subtle dance of two actors, Olivia Coleman (The Favourite) and Jessie Buckley (Chernobyl) - - as older and younger versions of the same character - - requires the choreographic skills of a veteran director, not a newbie. Coleman’s acting is predictably supportive of the necessary nuance, but Buckley’s gift was entirely unknown. Interweaving back and front stories - - particularly in an adaptation - - is also treacherous, but Gyllenhaal seems so sure-footed. A robust performance by Dakota Johnson (Fifty Shades of Grey) sustains this quality . . . as it also surprises. The tension of the center mystery is nicely sharpened by Dickon Hinchliffe’s (Winter’s Bone) insistent score. Perhaps we’ve been underestimating these people?

It Was A Record Store - - Licorice Pizza (2021, USA, Color, 133 min) - - 6 February 2022

Strongly recommended. I don’t really remember the 70’s as being as charming as Licorice Pizza writer/director Paul Thomas Anderson (The Phantom Thread) does; since he was born before my senior year of high school . . . we didn't overlap. However, as an eyewitness - - I can assure you - - he’s got it right. The key is that most of his characters were real Valley girls and boys. His lovable protagonist, Gary, played by Cooper Hoffman (debutante son of Phillip Seymour), is based on producer, Gary Goetzman (Charlie Wilson’s War) . . . who really did sell waterbeds in 1972. Gary’s put-upon paramour, Alana, is delightfully played by pop, and potential movie, star, Alana Haim. Other amusing casting is scattered about including a brilliant turn by Sean Penn (Mystic River) as a William Holden (Sabrina) stand-in and sub-brilliant but amusing performances by Tom Waits (Short Cuts) and Bradley Cooper (Silver Linings Playbook). This is a fun movie.