'Hail Caesar' Preview

The Coen Brothers’ upcoming comedy ‘Hail Caesar’ is slated to hit theaters February 5^th.  Featuring a stellar cast that includes George Clooney, Josh Brolin, Scarlett Johansson, Channing Tatum, Jonah Hill, Tilda Swinton, and Frances McDormand,  the film takes place in 1950s Hollywood.  ‘Fixer’ Eddie Mannix (Brolin) is recruited to help right the ship on a movie production that stars Baird Whitlock (Clooney), a bumbling A-list actor who can’t remember his lines.  When Whitlock is taken hostage and held for ransom, chaos ensues.

The first Coen Brothers film since 2014’s ‘Inside Llewyn Davis,’ - which was an earnest character study of an aspiring folk singer/songwriter in the 1960s - ‘Hail Caesar’ presents as a zany comedy more in the vein of the Coens’ previous films  ‘O Brother Where Art Thou’ and ‘The Big Lebowski.’  In the trailer, Johansson flexes her comedy chops by adopting an abrasive New Jersey accent, and Hill shows his deep-seated insecurity shtick is good as ever.  A visual spectacle, vibrant colors pervade the scenes and costumes shown during the brief two and a half minute trailer.

Though it’s not likely to make a splash at the Academy Awards, ‘Hail Caesar’ should deliver a bevy of incompetent characters, a few belly laughs, a glut of witty dialogue. The film is primed to be another addition to the Coen Brothers’ impeccable filmography.

'Spotlight' Review

My expectations were sky-high when I walked into the theater.  Spotlight had garnered a 97% positive rating among critics on Rotten Tomatoes and a 95% among the audience.  The realization that my local theater- one I haven’t visited in at least two years- had redone its seating and now boasted leather recliners and ample leg room that not even I, at a gangly 6’1, could completely occupy.  A borderline insulting barrage of six or seven movie trailers then preceded what would be an underwhelming two hours.

Spotlight takes place early aughts and chronicle’s the Boston Globe’s journalistic efforts to uncover the catholic priest sexual assault scandal.  With a stellar ensemble cast that includes Michael Keaton, Mark Ruffalo, Rachel McAdams, and John Slattery, the film’s most noteworthy performance was Ruffalo’s portrayal of a neurotic and socially-awkward journalist who lived and died by his work.  Neal Huff also shines during his brief time on screen as an adult who was molested by a priest during his childhood.  Slattery showed what Roger Sterling would have been like had the character been on HBO and permitted to drop F-bombs. 

My biggest issue with the film was its complacency in merely recounting the journalistic findings and ignoring any significant characterization of the journalists involved.  The characters act as vehicles by which to relay information to the audience, and any type of engaging sub-plot is non-existent.  There is a discovery late in the film related to Michael Keaton’s character, but my reaction was one of indifference since I had not emotionally invested in his character throughout the film.  In addition to the lack of characterization, the plot lacked any significant stakes and legitimate resistance against the journalists’ mission.

The harsh settings
of the film, which were primarily the interiors of office buildings and dreary backdrops of an overcast Boston, made for a visually boring viewing experience.  The settings fits the tone of the film but does not make the final product any easier to watch.  The subject of the film is likely a large reason for its success.  Priest molestation is a genre that has not been tackled, so there is value in breaking that ground.  But something as fact driven as Spotlight would have fared much better as a documentary instead of a two hour film.

 2.5/5