Tesla (2020) struggles to bring the inventor's life to light

History's made up of pioneers who have transformed the world as we know it. Too many remain overlooked, forgotten to time and standards or traditions that now seem archaic today. And, movies often a way to shine a light on those whose stories are recognized by their peers and admirers. Engineer and inventor Nikola Tesla, who continuously mounts a resurgence in film and television, finally gets the biopic treatment, but it's difficult to discern if it isn't as garbled as his own legacy.

Outside of his own inventions, the Serbian-American scientist Tesla (Ethan Hawke) is perhaps most recognized for his feud against his former boss and American inventor Thomas Edison (Kyle MacLachlan). Here, the film loosely explores Tesla's life from the 1893 World’s Fair and onwards, marking the differences in their career and their war on electrical currents - Tesla's alternating current sytem vs Edison's direct current electric power.

Director Michael Almereyda doesn't generate the most conventional films - if you've seen his work before, you'll go in knowing how off-beat his perspective can be from the plot to the production choices. If you haven't, it's a challenge to piece together his myriad of choices to tell this singular story - one that admirably steps out of the box from traditional biopics but fails to know when to air restraint.

Though the story itself should be expectantly straight-forward, Almereyda's approach will be the most divisive aspect. Its plot is unlike even the most surreal dramas, practically starting in the middle of Tesla's life and his immediate rivalry with Edison, and then expanding all over the map. While films in a non-linear fashion aren't always challenging to watch, Tesla doesn't hold back with directing its focus between Tesla, his acquaintances, partners, romantic interests, etc. Primarily, the plot is intermittently interrupted by daughter of JP Morgan Anne Morgan (Eve Hewson) who acts as a tour guide of who's who in Tesla's world. Once you get a hold on your bearings on the main story, the film switches the direction or Morgan drops by to clarify which scenes are fact or of Almereyda's artistic license. Her inclusion feels less like the film is making room for an observer giving you the scoop of Tesla's work and more as a diversion from adhering to a A to B to C, etc. biopic.

It's difficult to call this film quirky, or unique, in comparison to other films and leave it at that. Almereyda offers enough curiosity to pique your interest and see what he has up his sleeve next. He regularly interjects the film with little details that step out of the traditional mold, and even the time period it's set in - a scene with Sarah Bernhardt entering a club comes more like a scene out of John Wick than a late 1900s period piece; Morgan using a laptop to show pictures of Tesla, Edison, and other supporting characters on Google; Tesla crooning to a Tear for Fears song at karaoke. It's little nods like these that give the film its edge, but blurs the line between an extraordinary vision and throwing everything at the wall.

Where the film gets its bearings the most is Hawke's performance. Not much is known about Tesla - that's perhaps that the internet is for - and Hawke manages to encompass an emotional insulation about him that you want to follow. Kyle MacLachlan is steady as Thomas Edison, but in regards to both characters, the film struggles to dive deep beyond the loose personalities you may have heard of online or in social studies class. Though their frenemyship is the central thread of the story, and each have their own artistic and capitalist demons to face, the stakes don't feel high as they could, making them both as much of a mystery before you see the film as much as you do afterwards.

Similar to the real Tesla and the mystique his legacy has endured over the years, the film can be given its due by how it blazes its own trail. The latter aspires to be a visionary, becoming one of the few that tackles the microscopic 'anti-biopic' biopic genre. As its plot makes daring detours, it's free-wheeling approach hinders more than amplifies. Hawke's performance ties the film together on his own, but it's a flickering portrait that struggles to fully illuminate Almereyda's subject.

Rating: ★1/2☆☆

Please Note: I was provided with a screener to watch this film and provide an honest review. Telsa is available in theaters and watch at home via digital or cable.

folklore (2020) offers an enchanting escape from the dumpster fire that is 2020

When it comes to Taylor Swift, her most devoted Swifties always expect something to pop up around the corner. Known as the queen of meticulously dropping hints of what’s to come, she always manages to keep fans on the edge of their seat. With her seventh album Lover dropping less than a year ago, and a massive pandemic sweeping the world, very few could’ve expected to hear new music after a cancelled summer tour. The next era of her music felt like an eternity away, but only Swift could drop her eighth studio record out of nowhere and blast more of our expectations out of the water. 

Summerland (2020) Infuses the Wartime Genre with Magic and Love

Hollywood too often tells a familiar history of World War II. War stories are mostly reserved for heroic tales of the men behind some of the world’s greatest combat missions to defeat Adolf Hitler and establish support for the Allies. Rarely exploring the expansive experiences of women and minorities at the time, a few films are turning the tide of how cinema recollects history. In the similar vein of Lone Scherfig’s Their Finest or Mike Newell’s The Guernsey Literary and Potato Peel Pie Society, Summerland makes for a refreshing escape of self-discovery and fantasy during one of the world’s darkest periods.

Set in the English coastal countryside of Kent, academic researcher Alice Lamb (Gemma Arterton) becomes the guardian of a refuge child Frank (Lucas Bond) whose parents are fighting in the war. Despite the nearby town treating her as the “beast on the beach” for her unladylike behavior, Lamb and Frank develop an unlikely connection that helps unveil a lost romance with a former lover (Gugu Mbatha-Raw). As research about a fantastical island in the sky brings her closer to Frank, their time together draws more parallels between them than they ever could’ve imagined.

Relic (2020) Adds A New Twist to 'Haunted House' Classics

Age creeps up on us steadily. One second we're young and free, and the next we're burdened with too many responsibilities or we don't want to be a burden to our loved ones. What becomes of us when we age and those around us is at the heart of Relic - a horror film that makes us come face-to-face with the shock, confusion, and (hopefully) understanding aging inevitably causes.

After their grandmother Edna (Robyn Nevin) is reported missing, her daughter and granddaughter Kay (Emily Mortimer) and Sam (Bella Heathcote) journeys to her house to find out what happened and discover signs of disarray that makes them realize how severely she's been struggling on her own. When Edna mysteriously re-appears as if nothing happened, her erratic behavior forces them to realize there might be more to her dementia than meets the eye.

Hamilton (2020) Rises To The Hype

Hamilton has been more than just a moment since it took the theatre world by storm in 2015. Lin-Manuel Miranda's musical premiered off and on Broadway, mainly stationed in New York City and then a subsequent tour abroad. For almost five years, fans have clamored to get premiere tickets to the groundbreaking show that won 11 of its 16 Tony Award nominations. Looking to the future, the musical-powers-that-be director Thomas Kail and Lin-Manuel Miranda decided to capture the magic of the initial Broadway cast. Their film, originally slated for theatrical release in October 2020, premiered on Disney+ early to entertain fans and subscribers at home during the pandemic. The result is a continued example of Hamilton as an inspiring and unforgettable movement.

Quick Reviews: Shows I Watched In Lockdown (Part 1)

Since the Coronavirus lockdown started earlier this year, there's been more time to watch new television shows and revisit some of my older faves. I didn't think there would be so much time to watch as many series as I have so far and probably more to come with how Florida has been doing such a good job handling this whole crisis.

Below are my quick reviews of shows that have entertained me (or at least tried to) along during the lockdown and social distancing - Space Force, Hunters, Once Upon A Time, Survivor: Winners At War, True Detective, Jericho, and E.R. There are no specific plot spoilers below. (Part 2 of more quick reviews will be coming along soon.)

Defending Jacob (2020) Is A Dizzying Search for the Truth

Does it ever become a conflict of interest for a parent to protect their child? It seems like a dubious question at best and an easy answer on the surface. Familial ties and love are meant to be unconditional, but if an innocent kid commits an unspeakable crime, the line between devotion and justice can become blurred. Based on the novel by William Landy, Defending Jacob explores the pain of facing the truth of what someone you loved is capable of.

There are no major spoilers based on the plot or big reveals - however, please read ahead at your own risk.