I Care a Lot

r e v i e w

What happens when an unstoppable force meets an immovable object? Well, who cares? These days, we can chomp on popcorn and watch superhero movies, comfortably knowing that the good guys will win. Forces and objects are gonna clash in flashy ways. Awesome. But the methods come second to the outcome. Second to the good guys winning.

Again and again, we go into superhero movies assuming this ending, and yet we still have an exciting, fun, even exhilarating time. How?

One reason is that these stories contain conflicts so difficult that we truly question whether the good guys will win. We start thinking about how we would win. About each character’s approach to winning. In other words, good writing makes us think about the process as much as the outcome. Makes us question what those unstoppable forces and immovable objects really are, and whether it would be OK to use them, or be them.

So it turns out we do care about the winner of that clash. I Care a Lot is a savage, delicious study on this. It moves our burning question out of superhero space and into the real world, and adds a twist: What happens when there are no good guys?

It’s subtle about it, and it’s not. Our lead, Marla, asks us the question as soon as the movie begins. As a legal guardian unashamed of taking advantage of her elderly wards, she has no qualms putting it all out there.

Watching Marla string a web to catch her prey, slowly tying up their living situation, their finances—their life—is a deeply disturbing and interesting watch. Costume design, editing, camerawork, and acting of the highest level highlight how high this makes Marla feel, and how confusing and terrifying it is for the people she traps. It is compelling watching on its own, but it is just the half of things.

At some point, it becomes clear Marla shouldn’t be messing with one of her wards. A powerful, dangerous person is connected with this ward, and will do whatever it takes to save the ward. Marla becomes our immovable object; the most determined, stubborn, capable being. The dangerous person is our unstoppable force; no single entity could possibly withstand its attack. So who wins?

We do. This movie is beautifully paced, shot, acted, directed, edited, sound-tracked, costumed, cast, set, color-schemed. Sure we’re watching bad guys, but clever writing makes it impossible not to empathize with them. It creates a tug of war in our hearts, as we constantly change who we want to win; who we think deserves what treatment; who we hate or admire.

This is not an easy thing to do to us. Many movies have tried, but many have glamorized the bad guy as much as demonized. (Looking at you, Scorsese, anche se ti rispetto tanto.) I Care a Lot does no such thing. With a heart-pounding, realistic story, it makes us grapple with what we are willing to do to get ahead, and reminds us how to think about others who use different methods—but share our very same goal.

It makes clear that taking advantage of others is, at no point along the line, glamorous. It is simply delusion. But it happens. This makes the movie ambitious and important, scary and real.

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s t a n d o u t s — **spoiler alert**

Some things will catch your eye here.

(1) c o l o r

The movie uses color in beautiful ways. Yes, color can be pretty on its own, but it can also be a tool that carries meaning.

One example of color as meaning here is Marla’s outfits.

When we meet her, she is in her prime. Capable, determined, and winning. Her outfits do business in striking primary colors. Solid reds and yellows.

As she is introduced to dilemmas, the colors become darker, less flashy. Maybe she is less sure of herself. Less OK with being loud. Or maybe, the darkness means she is more serious. Stepping up her game.

So what would black mean? Or white?

(2) a l l e g o r y

The movie preaches, but is only outwardly preachy for a few seconds over its two-hour runtime. Most of the time, it relies on allegory.

(a) n u t s h e l l

The opening scene blends the two. It is an introduction to, and summary of, the movie.

“Look at you. Sitting there. You think you’re good people. You’re not good people . . . there’s no such thing as good people . . . Playing fair is a joke invented by rich people to keep the rest of us poor.” How many movies begin by calling the viewer out as a bad person? A stooge? This is as preachy as it gets.

As Marla preaches to us over a grungy, minor-chord riff, we watch elderly people being fed pills. They swallow it; we swallow it. That lie we tell ourselves about doing the right thing, as we languish, as Marla and others get rich off of us.

Gulp.

(b) ’m u r i c a

Marla also lets us know that she was once like us, and that she didn’t enjoy it. She doesn’t dwell on this as the story continues, but we do see glimpses of her motivations and life-choices in movie imagery.

We come to realize that Marla actually appreciates this conception of the world, of predator and prey, because it empowers her. If there are only two choices, then she can choose to be a predator. A simple enough path to leave a life of fear, no? We also learn that Marla believes the United States is a blessing, because it provides fair ground to become a predator—if one works hard enough and plays by the rules.

As stretched a conception as that may be, play by the rules Marla does. She takes advantage of the elderly by the books. See below where she fights for what she thinks is right, appealing to justice, and the American flag? (This makes the conflict of the movie even more interesting, as she believes herself better than her antagonist, who doesn’t follow the American legal playbook, but who is trying to prevent a wrong.)

Much later, when Marla is in the depths, losing ground to the unstoppable force, she clings to this American promise. And it saves her. When her tooth is knocked loose, a gas station and its cheap milk rescue it. When Marla is cold, a hot dog machine provides a hearth to warm up on. Red ketchup and yellow mustard sit like a dog by her side; reminders of the comfort and stability the United States has to offer. As long as she and this country are alive, she can do anything. It is no surprise that Marla finds a new resolve after this scene.

The Night is Short, Walk On Girl

Remember that best night ever? When somehow, everyone out was tapped into the same line of electricity in the air?

This movie is that night, thanks to The Girl with the Black Hair. She knows life is short, so she’s going to take a hit of that new drink; to chat up that stranger. Though her positivity is irresistible, so is her appetite.

Her quest for more lights up the entire city. Each place she visits, each character she meets, brings its own charming quirks.

The movie is a drunken delight. A poem to serendipity, with exaggerated animation that’ll change the way you take in the world, if just for one night.

Kajillionaire

What kind of parents name their kid Old Dolio?

The kind that like—no, that need—a scam. The kind so scared of how the world takes, they spend all their time scheming how to take first.

So, their grown daughter is as maladjusted as her parachute pants are big. But when a charming stranger nudges her way into the family’s latest scam, Old Dolio starts to see more of what she’s been feeling lately. Maybe there’s something worthwhile about other people, after all.

This movie is as breathtakingly creative as it is furiously romantic. Quirky, delicate, deep, and endearing, storytelling does not get better than this.

Holy Frit

If you’ve ever wondered how they built the pyramids, you’ll like this one.

It’s the behind-the-scenes build of the largest ever stained glass window. A monument to stand for centuries. And right now, a monument that the craftspeople have no idea how to make.

Millions of dollars (and just as many prayers) are on the line. With every shattered panel, every frantic thought, you’ll be more invested.

It’s a watch filled with all the nerves, guts, and jokes of people trying to do something bigger than themselves. What’s more impressive than that?

I'm Your Woman

The way Jean’s treated is antiquated and sexist—and it just might save her life.

Y’see, her husband rolls with a bad crowd. Tucking Jean at home keeps the danger away . . . until hubby goes missing, that is.

So Jean is next. We don’t know why, and neither does she. But she better do something—and fast. This makes a good portion of the movie heart-poundingly scary.

You could even say that the story is built around adrenaline. But adrenaline wears off. And when it does, scenes of Jean sitting in silence, trapped in her own fear, become repetitive.

That may be a natural reaction—especially in a world where men continue to keep Jean in the dark. But together with performances that can be so understated as to feel emotionless, it does not make for fun watching. More empty lighter than slow burn, any sparks you get won’t last.

Malcolm & Marie

Malcolm’s movie is a hit! So why is Marie upset?

A few reasons, it turns out. And so the best day of Malcolm’s life passes into the worst night. The couple argues on and off for hours, saying things that can never be unsaid.

The beginning is transfixing—even charming. There’s a hint of truth in celebrating with a drink, or cooking dinner for someone you’re upset with. But as time passes, the movie devolves into pretentiousness. Is anybody on earth this articulate at three in the morning? Who can possibly shrug off such devastating digs—and every twenty minutes, at that?

Exhausting is the word. Not because the floodgates of an unhealthy relationship are opening in the middle of the night, but because the movie does not feel like an argument; it feels like a movie that was written to fill two hours with one.

No amount of (gorgeous) camerawork or (unremarkable) acting can make up for this.

The Dig

The Dig strikes gold, then gets greedy.

Edith can’t kick the feeling that something big is buried on her land. With world war and illness looming, finding it has become that much more important.

Basil agrees. He’s no archaeologist, but the man respects a dig.

What the two uncover will go down in history. But making history and being history are very different things. So Basil does double duty, giving and Edith and her son some perspective amidst the turmoil.

It is a simple and touching story. What’s odd is that the moviemakers didn’t seem to think so. Surprisingly deep into this, a romantic storyline magically appears, shifting the focus of the movie and almost doubling its length.

But it’s still worth a watch, not least for its beautiful picture. Golden light and big sky expanses subtly remind us how precious life can be.

The White Tiger

The White Tiger is complicated. But to sum up, India is chickens.

Just take it from Balram. By clawing his way up from candy man to rich man he’s seen it all. And now, he’s telling all.

The story is full of intrigue, and often exciting. But it’s also dark. Hard truths about society—and Balram’s choices—are what make this movie. Entertaining and devastating can now be used in the same sentence.

Indeed, this isn’t about rags or riches. It’s about the internal struggle we each face: how to do the right thing for others while doing right by ourselves. Thanks in part to pitch-perfect acting, it’s never been so easy to cheer for characters in one scene and boo them in the next.

Family Romance, LLC

Drunk uncle gonna ruin your wedding day? Why not rent a replacement?!

That’s right. Family Romance, LLC has actors to fill whatever role you need—loved ones included.

It’s a strange concept, and even stranger to behold. The main event has “Dad” trying to rekindle a relationship with his neglected “daughter”.

Their moments together are real. But because half of the emotion is paid for, these moments feel hollow. It’s almost like watching a funeral. Yea yea, life goes on, but something’s missing, and you can’t tell me otherwise!

This seems to be the deeper goal of the movie—to get us thinking about the loneliness and connection life can offer. Although it’s thought-provoking, the movie feels more talent show than anything else. Most of the time has us jumping between unrelated scenes, just to exhibit different actors. This stalls the main story until the very end, when its conflict is finally introduced. The movie gets good just as soon as it finishes.

Twenty Two

Of 200,000, twenty-two survive. Those must be some stories.

Yep. And difficult to share. Surviving systematic abuse by the Japanese army, just to have society look down on you? These women deserve better.

So the movie does what it can. Our Chinese grannies share their pain—some of them, for the first time. But even when reliving becomes too difficult, we still sit with them. See them.

About half of the movie steps out of the room. Nothing-moments. As much as these give grannies a respectful distance, they give us time to download what we’ve just learned. Watching a snowfall, we can think about how the voice of pain is sometimes muffled. Or, we can focus on the flakes’ delicate dance. Up to us.

Whether by interviews or in-betweens, this movie is as tasteful and beautiful as a movie can be. There is no action, no journey. Just life, raw and real.

One Night in Miami

Hey—have you heard the one where two champions, a rock star, and a philosopher walk into a bar?

It’s no joke. In fact, it’s deeply satisfying. Watching Muhammad Ali, Jim Brown, Sam Cooke, and Malcolm X with their guards down, it feels like we’re getting away with something.

That’s because people speak more freely with friends. It’s catch-ups one minute, deep cuts another. Sure, you’re the best at what you do, but is your day job making the world a better place?

Some of the lines truly burn. But most of the movie is a more subtle sizzle. Even the slower pace and group imagery are saying, relax and celebrate while you can, but to be black in the United States is to return to a struggle.

There’s much to take away from this, and we each might take something different. The message, maybe, is that that’s OK. Our own experiences and talents can’t be denied. So if we disagree, let’s talk about it.

To All the Boys I've Loved Before

Speak now or forever hold your peace? I’ll take the third option.

Like Lara Jean. Instead of telling people how she really feels, she writes letters—never to be sent, of course.

Of course. Once these letters (mysteriously) make their way into the world, what had felt like a sappy movie transforms. When all the boys you’ve loved before are at your door, funny things happen.

It’s not a likely story. You’ll see more group hugs and self-possessed teenagers here than you will in a lifetime. But it’s hard to roll your eyes when the rest makes you feel so good. You can sympathize with the hard stuff, and laugh at the light. Lara Jean playing her part to perfection helps.

Wonder Woman 1984

It’s 1984, and big is in. Hair. Shoulder pads. Desire.

Diana isn’t the biggest fan: She believes there’s such a thing as enough. And as an Amazon warrior, she has the powers—and duty—to remind people of it.

That includes Maxwell. He’s selling the dream of more, to those with less. But it’s a Ponzi scheme. To maintain, it must grow. And to grow, it must take.

The movie leans heavily on these themes. That works well, for a while. But somewhere along the line, the story doesn’t follow its own logic, and so its message falls flat. OK movie, you want me to examine my place in the world? I’ll do that after you examine yourself first.

It’s frustrating. The moral is a good one, and shouldn’t get lost. But if you can look past the mistake, plenty of the movie is funny and entertaining.

Tiger

Tiger Woods will bring a kind of peace to this world, a peace like it has never seen before.

Can you imagine, the audacity? But what if your parents said the same about you? Might you feel lucky, that they recognized you were special? Grateful, for their support?

Or maybe, you’d become a machine, addicted to validation. Maybe, you’d be torn up inside. Because no person can be perfect, and because healthy relationships aren’t distractions to be tossed aside.

These are just a few of the ideas whizzing around this movie. Sure, you’ll see footage of golf greatness, and it’s simply wonderful. But the movie is at its most compelling when interviews put this greatness into context—when we can begin to imagine the insane pressures Tiger is facing.

Life is messy, and doesn’t work out into chapters for a story. But this is a riveting, human one, and you’ll easily sit through all three hours of it.

Tenet

Tenet spelled backward is Tenet. But Tenet spelled forward is Tenet . . . So which way is which? And what if the fate of the world depended on your answering correctly?

For our lead, this problem is too real. Not only does he need to find the bad guys, he needs to fight their new weapon. Think apple falling up the tree. Or bullet speeding into the gun.

Confused? You’re not the only one. But our lead has a knack for asking the right questions—and throwing the right punches.

This movie is complicated, sprawling, exhausting—but exciting and impressive. It’s a globe-trotting, mind-bending, action-packed dream, and our brains can’t keep up.

Pieces of a Woman

The baby’s coming. Right now.

But Martha and her partner aren’t worried about being at home. In fact, they planned it this way.

What they didn’t plan for was tragedy. You’d think it would bring the family closer together, but this is a story of separation. People feel pain and seek peace in different ways.

The birthing scene alone will rock you. But the whole movie is expertly done. Editing toys with our perceptions. Direction keeps us close, because even the smallest detail adds to the picture. And last but not least, Martha and her mother deliver champion performances: We’re not watching people change, we’re watching their most intimate thoughts in action.

Prepare to have your emotions thrown on a skillet.

The Founder

McDonald’s’ll never be big. Just ask the McDonald brothers!

Ray disagrees, and is on a mission to convert them (and everyone else) to the gospel of growth. Problem is, Ray’s a nobody; a struggling salesman with flimsy ideas.

We all know how the story ends. But here we learn how it begins, and how it begins is wildly interesting, almost unbelievable.

Why? It’s complicated. At one end, nostalgia rains like a vanilla milkshake. Suits are pressed, and countertops glisten. Bright smiles beam out of cherry-red Buicks. But the other end? It’s never far away, and it’s all selfishness and mania. Ideas over people.

The movie is built around this bipolar energy—Ray’s energy. So it’s strange to say, but at the end of the day, this is a well done, family-friendly movie about a man anything but.

The Midnight Sky

So you’re terminally ill. Oh, and the last person on Earth. Finding it hard to focus?

Augustine sure is. But he still finds time to search for a future. You see, a few stranded astronauts can use his help.

Dystopian futures can be downers, but this one isn’t. Its weaved storylines are never boring—and never too heavy. It’s about relationships and connections, not how scary the end of existence might seem.

The story is engaging enough, but pro moviemaking adds depth. For one thing, each scene is pretty enough to watch on its own. Barren settings are made beautiful. Alternating focus draws our attention. Subtle differences in light, greys and blacks, change our mood in a split second.

In a cold, dark universe, there are pockets of light. This movie is one.

Soul

If you died tomorrow, would you be OK with it?

Without any words, that’s what Soul asks us. The short story is that Joe needs to pick between following his jazz-piano-passion and holding down a steady job. The long story is that he has other things to figure out, and it takes a journey through space and time for him to realize it.

Sound heavy? That’s because it is. But this remains a movie for the whole family, filled with approachable characters and silly scenarios. The music is mesmerizing, and the animation everchanging. You’ll be hooked in the first two minutes.

It’s something special when a movie can work on multiple levels; when your child can have fun learning a life lesson—and you can have fun re-learning it. So now that you know there’s something special in your life, what are you waiting for?

Klaus

Nobody gets toys on Christmas.

That’s because Smeerensburg is about tradition, and tradition says to hate thy neighbor.

Jesper is thrown into this lovely setting as the town’s new mail carrier. But he’s no saint either: He sees Klaus, a nice old man, as his ticket out. At least, that’s how their relationship starts . . .

At the end of the day, this movie tries to do too much. It’s really about Jesper growing up, but jams in Santa’s origin story, the meaning of secular Christmas, the corrupting power of adults, and more. This makes things confusing. Who should we root for? What’s the moral of the story?

You can watch it with family, but it’s more for adults (who overthink things) than children. All that said, its tie-ins to Christmas traditions are clever, and the animation can be gorgeous. Lights and lines create vivid portraits that just so happen to move.