The Gentlemen (2020) Is A Typical Guy Ritchie Movie

STXfilms (United States)

With the exclusion of a few titles under his cap, director Guy Ritchie has mostly replicated his plots for the past twenty-five years. Having his universe of copy+paste indie-mob flicks, based solely on the cast and how many times they can find new entertaining ways to curse, isn't the worst career to possess in film these days. But it's not necessarily the most exciting either.

Sleazy private investigator Fletcher (Hugh Grant) tracks down the dirty business arrangements between cannabis tycoon Mickey Pearson (Matthew McConaughey) and an American millionaire Matthew Berger (Jeremy Strong). With the intel he discovers, he attempts to bribe Mickey’s right-hand man Raymond (Charlie Hunnam), and that's just not going to sit well with at all.

Katie Says Goodbye (2016) Strives to Find Meaning Out Of Misery

Katie (Olivia Cooke) dreams of leaving her past behind to move to San Francisco and attend beauty school. While pulling double-shifts as a waitress where her tips are wasted by her alcoholic mother, the seventeen-year-old supplements her savings as a prostitute. As she reserves every dime she can for greener pastures, falling in love with an ex-convict Bruno (Christopher Abbott) spirals her life out of control.

Everyone in Katie Says Goodbye has to forge their way in a claustrophobic nowhere town in the middle of the desert. There’s little to do for its residents except serve travelers on the road, drink, have sex – either for fun or as a gig. Left to fend for themselves with the basic necessities, Katie makes the best of what she has always looking for the silver lining. A few glimpses at her day-to-day life of monotonous waitressing, and excitedly gleaming at passing trains offers no rhyme or reason as to why she remains abundantly hopeful, and yet the film lovingly sets up this infectious charm only to gradually deconstruct it.

The Favourite (2018) Is Capable of Much Pleasantness

With some directors, you never know what you’re going to get. As familiar as you may be with their past projects, they always manage to create something within their own style but also off the beaten track. Director Yorgos Lanthimos is easily one of those types of directors today. Every film he produces from The Lobster to The Killing of A Sacred Deer, Lanthimos stands out even from his own work. This is easily the biggest, perhaps the best way, to describe his latest film The Favourite.

Set in the early 18th century, Sarah Churchill (Rachel Weisz) relishes having Queen Anne (Olivia Colman) all to herself. And then, her cousin Abigail Masham (Emma Stone) arrives on their castle's doorstep striving to make a name for herself by any means necessary. The two begin vying for the attention of the Queen as Britain braces itself for war against France.

First Man (2018) Shoots for the Moon But Misses

Universal Pictures

Most are probably familiar with Neil Armstrong and the Apollo 11 mission: the space race between the U.S. and Soviet Union, the "one small step for a man, one giant leap for mankind" quote, the iconic photo of Neil's footprints on the moon. Here for First Man, director Damien Chazelle explores a deeper, not widely known story, behind one of humankind’s biggest achievements.

Following the death of their toddler Karen, Neil (Ryan Gosling) and his family gradually set a course for him through trial and error to chart the famous Apollo 11 mission. While working his way up as a pilot and surviving the Gemini missions to landing on the moon, Armstrong’s eyes are so strongly set on the stars to deal with his grief, his relationship with wife Janet (Claire Foy) and their two sons starts falling apart at the seams.

One can’t have a biopic about Neil Armstrong without the Apollo 11, and vice versa. To tackle such an elusive figure with monumental events, it’s a real balancing act for any director to want to tell both stories. There's no question that Chazelle wanted to explore Armstrong's side of the events. However in focusing the film almost entirely from his perspective, the overall journey to the moon leaves a lot to be desired. 

I, Tonya (2017) is Pure Gold

Photo Credit: Neon

For nearly twenty five years, the complicated rivalry between figure skaters Tonya Harding and Nancy Kerrigan took the world by storm. In 1994, obsessed news outlets and the public tried to call the shots of how Harding attacked her fellow competitor to stay on top. Now, this time solely focusing on the former, I, Tonya ambitiously sets at least one side of the story straight.

Tonya Harding (Margot Robbie) was raised by her ruthless, narcissistic mother LaVona (Allison Janney) to be the best figure skater in the world. Determined and hard-working, she manages to become a U.S. Champion on her way to Olympic glory. Then her abusive husband Jeff (Sebastian Stan) and his lame-brain friend Shawn (Paul Walter Hauser) clumsily attempt to out her biggest competitor Nancy Kerrigan by whacking her in the knee. The attack instigates a worldwide scandal spiraling Harding’s fall from grace.

Taking a page out of Tonya’s book to be unpredictable and unvarnished, director Craig Gillespie’s film is not your typical biopic. More of a tell-all from Tonya and her family’s perspectives, the movie plays with different sides of the story because there never is just one. The movie is narrated by the four main culprits involved throughout Harding's life - Harding, LaVona, Jeff, and Shawn. As they describe their versions of events, history isn't concerned with looking back and over-fictionalizing  what happened. Nope, this movie's all about letting the people directly involved have the final word.

Through a wicked ride of comedy and drama, Harding is painted differently than how we might remember her. If one is looking for a catfight on ice, the movie is going to disappoint. Harding's life leading up to the incident and afterwards is depicted in a no-holds-barred, flipping her reputation as the victimizer against Kerrigan and showing her own experiences as a victim of domestic abuse. Delving into the normalized abuse Tonya suffered by her mother growing up, and then her husband, Robbie as Harding often breaks the fourth wall in the middle of being attacked or insulted, describing to those watching what's going on, how she feels and why the cycle continued. It's not the most typical or sensitive way to display what she went through growing up, but it's pivotal in showing how desensitized Harding had become to these normalized cycles and how big of a hit her self-worth ultimately takes.

By pushing herself out of her dysfunctional family, Harding is a scrappy warrior. As the film dives into the absurd, letting you be a spectator to her downfall and addressing how the media portrayed her, its offbeat style also creates empathy for her; to understand the purpose of skating as her Achilles’ heel; how she gets her self-worth from skating, how her ambition is a refuge and curse. The movie is wildly successful in its ability to be heart-wrenching and uncommonly funny. But never it never entirely absolves Harding for what happened to Kerrigan, nor uses any of the film's violence for cheap laughs.

What ultimately carries I, Tonya is the cast lead by Margot Robbie. Playing Harding from fifteen to forty-seven years old, the native Australian completely throws herself into the role from the mid-western speech to the second-hand make-up and costumes. As an actress, and a vital producer to the film and ensuring the movie was sensitive yet candid, Robbie creates a palpable image of Harding - a white-trash underdog who’s unvarnished personality didn’t fit the golden ice princess image. The film’s style has a lot going on, and Robbie manages to ground the audacious portrayal into something believeable. With her, the supporting cast Sebastian Stan, Allison Janney, and Paul Walter Hauser, morph what would be caricatures into real-life people that you really can't believe actually exist.

A big hand goes to the screenwriter Steve Rogers in balancing Harding as both a victim and victimizer; she was a bystander to her husband’s crime and also complicit in it. The film covers a lot of ground like class in America, the value of a person’s image over their talent, and a woman determined to break free. His writing bends and curves all over the place but never jumps the tracks.

Interestingly, as the movie focuses on Tonya more than Kerrigan, a lot of critics wonder what the latter thinks - especially since Harding serves as a producer and I, Tonya’s has been collecting accolades in Hollywood. It’s easy: she’s moved on and living her life. Even though the movie does not glorify and limits showing Kerrigan’s perspective, much of the social commentary about her  comes across as a projection of long-overdue sympathy. Considering that the movie explores society's judgement on them both, it's interesting to look back and see them both treated like a sideshow in this major circus; Kerrigan also became a salacious scandal, soon not living up to critic's expectations, with her attack being made into parodies and getting called out her on her own mistreatment to other skaters. It makes me wonder if we’ve moved beyond a place in cinema to explore people who are flawed and don't live on an imaginary pedestal that everyone is perfect; or that maybe the expectation for the movie was to pit two women against each other in a superficial feud.

I, Tonya is not a straight-forward investigation of ‘Who dun it’, trying to cleverly re-imagine who is the real culprit of attacking Kerrigan. The movie’s a true-crime soap opera, digging into a scandal that divided the world, the dark underground of figure skating, and a woman picking herself up from her bootstraps skates. The story swerves in-between being funny, dysfunctional, and dark, but as crazy as it gets, it never loses sight of Robbie as the star or the Harding as the story; it's pure gold.

Rating: ★★★

Have you seen I, Tonya? What did you think?