The holidays can mean family, friends, celebrations, and great movies! Studios release their films in late Nov and December in the hope that they will garner a major award during award season which can contribute to increased sales and viewership. That provides us with a rich opportunity to escape the hectic holiday season with a few hours of pure entertainment. These are the films Fashion Reverie recommends. Enjoy!
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“A Beautiful Day in the Neighborhood”
This has been a dark year. Forest fires, mass shootings, Venice is sinking and the less said about politics the better. Why not spend two heartwarming hours watching multiple Academy Award-winner Tom Hanks portray Fred Rogers. Based on the true story of a real-life friendship between Fred Rogers and journalist Tom Junod, the film tells the story of kindness triumphing over cynicism. Bring tissues. You’ll be crying with joy.
“A Beautiful Day in the Neighborhood” opens on November 22.
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“Knives Out”
Acclaimed writer and director Rian Johnson (Brick, Looper, Star Wars: The Last Jedi) pays tribute to mystery mastermind Agatha Christie in “Knives Out.” When a rich crime novelist is found dead following his 85th birthday party, everyone is a suspect. With a knockout cast including Daniel Craig, Chris Evans, Michael Shannon, Jamie Lee Curtis, and more. This exciting whodunit will have you guessing til the end.
“Knives Out” opens November 27.
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“The Aeronauts”
In 1862, daredevil balloon pilot Amelia Wren (Felicity Jones) teams up with pioneering meteorologist James Glaisher (Eddie Redmayne) to advance human knowledge of the weather and fly higher than anyone in history. While based on true events filmmakers strayed from the actual, considerably. But, in doing so delivered an exciting story with stunning cinematography. See this in IMAX if you can. The sweeping visuals will take your breath away.
“The Aeronauts” opens December 6.
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“In Fabric”
Who hasn’t dreamed of finding a dress that will change their life? An insecure woman looking to dip her toe into the dating scene visits a bewitching London boutique and leaves with a perfectly fitted blood red gown. This darkly humorous tale blends horror with comedy as Marianne Jean-Baptiste discovers she’s a true fashion victim after inadvertently unleashing a curse.
“In Fabric” opens December 6.
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“Jumanji: The Next Level”
Looking for a film suitable for the entire family? This third installment in the Jumanji reboot finds the gang trying to save their friend Spencer after he gets sucked back into the video game while attempting to destroy the console. This time, bouncing from jungles to deserts to frozen tundra with two new characters. Get ready for some rip-roaring adventure.
“Jumanji: The Next Level” opens December 13.
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“Bombshell”
“Bombshell” is based on the real scandal that would force the late Roger Aisles to resign from Fox News following accusations of sexual harassment. Featuring Academy Award-winner Nicole Kidman and Charlize Theron—who looks so much like Megyn Kelly it’s disturbing—tells the explosive story of the women who stood up to Media mogul and took him down.
“Bombshell” opens December 13.
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“Star Wars: The Rise of the Skywalker”
Co-Written and directed by J.J Abrams this is the third installment in the sequel trilogy, the ninth and final installment in the Skywalker saga. A year after the events of The Last Jedi, the remnants of the Resistance face the First Order once again—while reckoning with the past and their own inner turmoil. It was planned that Rise of Skywalker would focus on General Leia Organa, but Carrie Fisher’s sudden death two years ago forced a script change. Fisher will appear in scenes leftover from the previous films.
“Star Wars: The Rise of the Skywalker” opens December 20.
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“Cats”
Written by Sir Andrew Lloyd Webber, and being the longest running musical on Broadway, this “Cats” stars James Corden, Judi Dench, Jason Derulo, Idris Elba, Jennifer Hudson, Ian McKellen, Taylor Swift, and Rebel Wilson. The polarizing trailer was described by some as a “demented dream ballet.” But with this cast, you know the film will have some amazing musical numbers. You’re curious admit it.
“Cats” opens December 20.
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“Little Women”
After writing and directing the exceptional “Ladybird,” Greta Gerwig found herself the fifth woman to be nominated for a best director Academy Award. This Christmas she will unspool an adaption of the classic Louisa May Alcott s novel Little Women starring Saoirse Ronan, Emma Watson, Florence Pugh, Eliza Scalen, and Timothée Chalamet. The four March sisters find themselves coming of age in America after the Civil War.
“Little Women” opens on December 25.
—Cameron Grey Rose
What is to be said about opera legend Maria Callas that hasn’t always been said? Not much. There have been several documentaries and movies her life—“Callas Forever,” “Maria Callas: La Divina: A Portrait,” Callas Assoluta,” “Maria Callas: Life & Art,” and “Maria Callas: Living and Dying for.” So, is another documentary or movie about La Callas necessary?
Interestingly, “Maria by Callas: In Her Own Words” is perhaps the most authentic reflection on Callas’ life and there is no doubt that Callas’ life was a life that great dramas are made from. From her up from the almost bottom in the Bronx—most people don’t know that Callas is actually a New York native—to the beginning of her operatic career in Greece to her dramatic weight loss, to her becoming a style icon in the manner of Audrey Hepburn and Sophia Loren to her reputation as a difficult diva, to her affair with Aristotle Onassis everything is documented through interviews and photographs in the diva’s own words.
It is not uncommon for an actor to change their appearance for a role. Often this transformation, if the script is good and the film is well directed, can render an Oscar nomination, if not an outright win. Looking back who can forget Charlize Theron’s transformation to the serial killer/man hater Aileen Wournos in “Monster” or Alfred Molina putting on a lot of weight when he played Frida Kahlo;s husband, Diego Rivera, in “Frida?” And what about the late Philip Seymour Hoffman drastic alteration of his body and visage to portray an effete Truman Capote in “Capote.” (In retrospect by Theron and Hoffman won Academy Awards for their characters in “Monster” and “Capote.)
Though “Happy Prince” is written and directed by Everett, Everett ingeniously mines out a performance that is stocked full of nuance and depth. He even manages to project beyond Wilde’s miserable state of a penniless outcast who depends on the kindness of friends, fellow miscreants with an occasional rent boy thrown in for good measure. In spite of Wilde’s pitiful state, Everett injects a wealth of charm and vibrancy coupled with Wilde’s incomparable wit into his portrayal.
“The Happy Prince” includes a stellar cast that includes Colin Firth, Tom Wilkinson, Emily Watson, and Edwin Thomas. Still, “The “Happy Prince” is a star vehicle for Rupert Everett. And with his portrayal of a downtrodden Oscar Wilde, we get to see Oscar Wilde in a different light, and how deep Rupert Everett’s well of talent can go. With “The Happy Prince,” Rupert Everett proves he is much more than a pretty face with a British accent. Is there is Oscar nomination in the works? Fashion Reverie thinks so!!
“Antonio Lopez 1970: Sex, Fashion & Disco” gives a purview into how the worlds of urban street culture, pop music, and the downtown arts scene were beginning to influence the fashion industry. Lopez was at the epicenter of this particular cross-pollination of cultures and infused his art and craft with this mélange of influences.
Director James Crump carefully examines Lopez’s unique ability to excavate inchoate talent and pushing that talent to the forefront of fashion. Without Lopez there probably would not have been a Grace Jones, Pat Cleveland, Patti D’Arbanville, Corey Tippin or Jerry Hall. And it was Lopez and his partner Juan Ramos that sparked that creative fire and sensibility in Karl Lagerfeld early in his career. Without Lopez and his coterie of creative merry people, perhaps, Lagerfeld would not have developed into the genius who could masterfully combine a variety of influences and popular trends into a seamless expression of beauty and adventure.
Blending video footage, photographs, Lopez’s fashion illustrations, disco music and some very well-placed interviews from Jessica Lange, Grace Coddington, Bill Cunningham, Pat Cleveland, Joan Juliet Buck, Andre Leon Talley, Corey Tippin, Bob Colacello, and others, James Crump artfully creates the mood and motivation of the late 60s and 70s. This collision of cultures and aesthetics is set against the backdrop of New York City and Paris. In fact, Crump creates such well-collaged kaleidoscope of images, sounds and colors that is almost like being in the New York City and Paris of Antonio Lopez. Still, Crump does not leave out some of the vices that drove Lopez’s creative genius. Though these vices—sex, sex, and more sex—are not the focus of the documentary, Crump does detail Lopez’s excesses without simulating titillating voyeurism.
“Antonio Lopez 1970: Sex, Fashion & Disco” is currently playing at the IFC Center in New York City through October 4.
Boots Riley Gets it Frighteningly Right in “Sorry to Bother You”
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What can be said about Boots Riley’s “Sorry to Bother You”? A lot can be said. There is humor in this film, a love story, juxtapositions of wealthy elites against the working class, and most of all a phantasmagorical surrealism. All these disparate elements and sub-stories are all rolled into one surprisingly cohesive story. Which is a testament to how good of a writer and storyteller writer/director Boots Riley is.Known mostly as a political activist and lead vocalist of The Coup and Street Sweeper Social Club, Boots Riley in his directorial debut has spearheaded a film that is apt for our current, tumultuous political climate. “Sorry to Bother You,” though infused with humor, metaphor, and satirical commentary on the growing rift between economic elites and everyone else, is still entertaining in spite of the film’s harrowing message.
“Sorry to Bother You”—which some film critics might deem a science fiction comedy—follows the journey of a young African American telemarketer, Cassius Green, as he adopts a Caucasian-sounding sales pitch and rises to the top of the sales/marketing ladder. During his ascent Cassius Green is faced with choosing the wealth and creature comforts of his recently acquired success or helping his fellow workers organize a labor union. (Consider the play of words with Cassius “Cash” Green’s name that references money and sports icon Cassius Clay aka Mohammad Ali. And like Cassius Clay, Cassius Green has a ‘eureka’ moment that changes is ideology and life perspective.)
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At first glance, “Sorry to Bother You” is reminiscent of Spike Lee’s attempt in the late 1980s and early 90s to make socially relevant films that commented on race, class, and social mobility. (Riley even uses some of Lee’s cinematic techniques.) Still, Riley’s foray into cinematic expression is different from Spike Lee because there is a lot more humor and Riley’s metaphorical, phantasmagorical images, though harrowing and rooted in science fiction, when examined more closely, those images reflect accurately the times we are living in. Which in some ways makes those metaphorical references tangibly eerie.There are some very strong performances and standout moments in “Sorry to Bother You.” Though Danny Glover has a small supporting role as a fellow telemarketer, he almost singlehandedly is the deus ex machina of this film, expertly providing the momentum to push the film forward. Omari Hardwicke as Mr. _________ is brilliant as a clandestine character that aids Cassius Green in his transition from worker drone to successful marketer. And LaKeith Stanfield as Cassius “Cash” Green brings nuance and depth to Cassius Green nerdy, and ship-without-a-sail character. Stanfield also craftily navigates Cassius Green’s evolution from aimless worker drone to informed citizen.
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Standout scenes include, but not are not limited to, the scene where nerdy Cassius satisfies his rap music thirsty white co-workers by shouting the N-word every two seconds; Cassius stumbling upon equine/humans in the men’s room, and Cassius becoming more sexually appealing after he becomes more successful, even though his physical appearance has not changed. And even more impressive is how strategically Riley handles crowd scenes, a real accomplishment for a first-time director.In this current political climate, one would wonder how “Sorry to Bother You” has achieved nationwide release. Perhaps, this film slipped through cracks because of its criticism of capitalist elites and big business and not the Trump Administration directly, even though they are one in the same. At any rate, “Sorry to Bother You” is a film that must be seen.
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In “Sorry to Bother You, we finally have a film with a strong people of color cast that makes you think. We need many more films just like this!!”Sorry to Bother You” is playing in cinemas nationwide.
—William S. Gooch