‘The White Tiger’ Ruthless Tale of Caste System in Modern India

‘The White Tiger’ Ruthless Tale of Caste System in Modern India

By Lynn Venhaus
Using a rooster coop as a metaphor, the crux of the story is that you are either in line waiting to get your head chopped off by your master or you kill your master. Simplified – rich, corrupt; poor, good.

Using his wit and cunning, Balram Halwai (Adarsh Gourav) narrates his epic journey from poor Indian driver to successful entrepreneur in modern India. He first works for rich masters Ashok (Rajkummar Rao) and his American wife Pinky (Priyanka Chopra-Jonas), making himself indispensable. Then, a night of betrayal occurs, and he realizes what he must do to rebel and rise up.

A long and meandering film, “The White Tiger” has strong performances from Adarsh Gourav as the ambitious Balrim, Rajkummar Rao as a new generation business leader and Priyanka Chopra-Jonas as his American wife Pinky.

Their presence helps considerably, but after a significant plot twist, which ruined the movie for me, continuing the journey was hard.

The caste system, along with the extreme poverty and squalor, in India have been explored numerous times, notably in the 2009 Best Picture, “Slumdog Millionaire.” The similarities are unavoidable, especially when director Ramin Bahrani never misses an opportunity to emphasize it.

Based on the New York Times bestselling novel by Aravind Adiga, “The White Tiger” has a meaty story to tell. But is Balrim is the most sympathetic anti-hero to spotlight? He is compromised.

At times, “The White Tiger” is insightful to the lower-class plight in India and the corruption that runs rampant in the ruling class. 

But how invested in the story you are depends on your allegiances during the two hours in which they ricochet. By the end, it’s been a harrowing, exhausting, mostly unpleasant journey.

“The White Tiger” is a drama directed by Ramin Bahrani starring Priyanka Chopra-Jonas, Rajkummar Rao and Adarsh Gourav. It is rated R for language, violence and sexual material and has a runtime of 2 hours, 5 minutes. Lynn’s Grade: C. In theaters and on Netflix Jan. 22.

‘Our Friend’ Pulls Heartstrings in Family-Focused Feature

‘Our Friend’ Pulls Heartstrings in Family-Focused Feature

 By Lynn Venhaus
In darkest times, you remember who stood by you, was there for you. Based on a true story, “Our Friend” shows how rare and special unconditional friendship is, with earnest performances from Casey Affleck, Jason Segel and Dakota Johnson.

Matt Teague (Casey Affleck) is a journalist and father of two young girls whose wife, Nicole (Dakota Johnson), has terminal cancer. While living in Fairhope, Ala., the family comes to depend on their friend, Dane Faucheux (Jason Segel), who has put his own life on hold to help.

While living in New Orleans, Nicole becomes involved in community theater, where she meets Dane. Her husband Matt and Dane bond as bros, and he becomes a part of their lives, even after moving to a small Alabama town and starting a family.

In 2012, Nicole is diagnosed with cancer, and thus begins a heartbreaking journey until her death, at age 36, in 2014.

The film matter-of-factly depicts the overwhelming demands of coping with a life-altering situation and terminal illness.

The three actors are sincere in their performances and convey the ups-and-downs of life’s curves. It’s tough material, no matter how one approaches it, with a tendency to be maudlin. The sweet and sentimental moments of friendship help smooth the harsh reality of a vibrant young person’s early demise.

Matt Teague was a consultant and executive producer on the film, and his Esquire magazine article, “The Friend,” is the source material for the screenplay. The article won the National Magazine Award. Screenwriter Brad Ingelsby, who wrote “The Way Back” among other Ben Affleck films, captures ordinary people well.

However, the film is hindered by its choppy narrative approach, moving back and forth between the timeline.

Director Gabriela Cowperthwaite, a longtime documentary filmmaker whose 2013 feature “Blackfish” won much acclaim, takes a realistic approach but it needed smoother transitions.

One character that needed more screen time was hospice nurse Faith Pruett, played by the wondrous Cherry Jones.

Still, the film is thoughtful and engaging. “Our Friend” reminds us of the importance of being there for the people we love.

“Our Friend” is a 2019 biographical drama directed by Gabriela Cowperthwaite, starring Casey Affleck, Dakota Johnson and Jason Segel. It is rated R for language and runs 2 hours, 4 minutes. Lynn’s Grade: B-, In theatres and on Video on Demand Jan. 22.

Actors Triumph in Memorable ‘One Night in Miami’

Actors Triumph in Memorable ‘One Night in Miami’

By Lynn Venhaus
A play-based drama imagines conversations between four black icons during a crucial time in the civil rights fight.

Playwright Kemp Powers adapted his 2013 stage play, “One Night in Miami,” which set their fictional meeting on Feb. 25, 1964, after Cassius Clay (Eli Goree) emerged as the new heavyweight boxing champion by defeating Sonny Liston at the Miami Beach Convention Center.

Joining him afterwards at the Hampton House Motel in the African American Overtown neighborhood is activist Malcolm X (Kingsley Ben-Adir), singer Sam Cooke (Leslie Odom Jr.) and legendary NFL running back Jim Brown (Aldis Hodge).

These influential black men discuss their responsibility and roles in the burgeoning civil rights movement.

On the cusp of the cultural upheaval of the 1960s, four famous black men feel pressured as symbols, trying to determine how to support equality and empower others through their celebrity.

The discussions are thought-provoking throughout, even though the film can’t quite shake its theatrical roots. But it’s the performances that galvanize “One Night in Miami.” One of the finest ensembles of the year features four young talents establishing their value, and each is riveting.

Kingsley Ben-Adir is fire and brimstone as Malcolm X, whose heated exchanges with Cooke do lead to a new direction for the singer, as shown later in “A Change Is Gonna Come” performed on “The Tonight Show.”

As the confident Malcolm X, Ben-Adir, however, expresses doubt and grapples with loyalty to the Nation of Islam.

Eli Goree, a veteran of TV’s “Ballers” and “Riverdale,” nails the glibness and distinct cadence of Clay, who is mulling over his decision to become Muhammad Ali.

Leslie Odom Jr., Tony winner as Aaron Burr in “Hamilton,” is electric as soul music pioneer Cooke, smoothly delivering several hits. A flashback to him salvaging a live show with an a capella “Chain Gang” is one of the film’s highlights.

Aldis Hodge, long a secret weapon in films, imbues his Brown with more anger and depth as he debates a future beyond football. In one of the film’s most significant scenes, he is humiliated by a wealthy bigot (Beau Bridges) during the Jim Crow era.

Oscar-winning actress Regina King, making her directorial debut, just gives her actors room to breathe. And the dialogue crackles, resonating beyond that night and emphasizing the impact these men had in their lives. 

By the end of the year, Malcolm X was assassinated and Cooke was killed in a sketchy incident – and the athletes became two of the greatest there ever was.

This evening may have taken place nearly 57 years ago but it feels timely. It’s definitely a conversation-starter for any age.

“One Night in Miami” is a drama based on Kemp Powers’ play, directed by Regina King and starring Kingsley Ben-Adir, Leslie Odom Jr., Aldis Hodge and Eli Goree. Rated R for language throughout, the movie’s run-time is 1 hr. 54 min. Lynn’s Grade: B+
Now playing in theatres and on Amazon Prime Jan. 15

Vanessa Kirby Triumphs in Crushing ‘Pieces of a Woman’

Vanessa Kirby Triumphs in Crushing ‘Pieces of a Woman’

By Lynn Venhaus
A deeply personal story of loss, “Pieces of a Woman” is a young mother’s tough year-long journey of grief. It’s a hard watch, nevertheless marked by remarkable performances.

When a Boston couple on the verge of parenthood endures the sudden loss of an infant, we are in for an unraveling of both of their lives, which will resonate with anyone who has faced a trauma.

Martha (Vanessa Kirby) begins a heartrending year-long odyssey of mourning that fractures relationships with loved ones as she learns to live alongside her loss.

Hungarian partners Kata Weber wrote the screenplay while Kornel Mondruczo directed, based on their similar experience, and they bring out the gut-wrenching impact of such an unimaginable tragedy.

The movie begins with an intense 23-minute home birth scene that goes tragically awry. The midwife (Molly Parker) is vilified and sued. The young couple’s rough patch is exacerbated by her domineering mother (Ellen Burstyn).

Stage actress Vanessa Kirby, who played Princess Margaret in “The Crown,” announces that she is an actress to watch. While her character Martha’s harsh odyssey is a wobbly one, you don’t doubt her commitment, and she’s heartbreaking.

Shia LaBeouf is fine as Sean, the supportive husband whose help is shunned by his shattered wife. The supporting cast includes comedian Iliza Shlesinger as Martha’s sister Anita, Benny Safdie as her husband and Sarah Snook as the family attorney.

This intimate portrait may lack some cohesiveness but is a painful foray into the healing process and a bruising human experience.

“Pieces of a Woman” is a drama directed by Kornel Mondruczo starring Vanessa Kirby, Shia LaBoeuf and Ellen Burstyn. Rated R for language, sexual content, graphic nudity and brief drug use, the movie runtime is 2 hours, 5 minutes. Lynn’s Grade: B. In theaters and on Netflix Jan. 7.

Powerful ‘Promising Young Woman’ Is Tale for Our Time

Powerful ‘Promising Young Woman’ Is Tale for Our Time

By Lynn Venhaus
Bold and bravura filmmaking, writer-director Emerald Fennell has crafted a  powerful in-your-face rant on toxic masculinity in the #MeToo era.

With a wicked wit and a sharp aim, Fennell exposes how pervasive and casually dismissed sexual assaults are in the guise of “Boys will be boys,” “We were kids,” “Everyone was drunk” and other such well-worn excuses.

Former medical school student Cassie (Carey Mulligan) seeks revenge for her childhood friend’s traumatic experience at a campus party years ago.

Fennell’s impressive debut is matched by Mulligan’s acting tour de force as the driven Cassie.

 And the supporting cast is first-rate, with admirable work by Bo Burnham as old classmate turned new love interest, Alfred Molina as a legal shark, Alison Brie as a catty coed, Clancy Brown and Jennifer Coolidge as Cassie’s parents, Laverne Cox as her coffee shop owner boss, Connie Britton as a college dean, and a cadre of nice-guy actors portraying bad boys.

The production elements all build upon each other, with a cheeky soundtrack, shrewd production design by Michael Perry, who contrasts colors to define moods; and outstanding make-up and hair designs.

Bracketed by shocking “Gotcha!” moments, “Promising Young Woman” is a brilliant, timely social commentary that needs to reverberate in the way that “Fatal Attraction” did in 1987, and keep the conversation going.



“Promising Young Woman” is a dark comedy-drama thriller written and directed by Emerald Fennell. Starring Carey Mulligan, Bo Burnham, Clancy Brown, Jennifer Coolidge, Alison Brie, Connie Britton, Max Greenfield, Chris Lowell, Laverne Cox and Alfred Molina, it is rated R for strong violence including sexual assault, language throughout, some sexual material and drug use, and runs 1 hour, 53 minutes. Lynn’s Grade: A. Opened in theatres on Dec. 23; Video on Demand on Jan. 15.

Dispatches from The Hills: On the Brink of a New Year

Dispatches from The Hills: On the Brink of a New Year

By Lynn Venhaus
We are almost looking in the rear view mirror, and 2020 will be no more. Overall, the year tested us all.
We also learned things about ourselves and found out how we handle adversity, how strong we can be, how much empathy we can have.
And just how a pandemic can turn the world topsy-turvy.
In isolation, we can go to dark places. It is really easy to keep a pity party going, but given how we needed to step it up for the greater good, we had to pivot for our own sanity.
Boy, do I miss hugs. But after vaccines and getting the spread down, returning to whatever resembles “normal” life, we will cherish gatherings and social contact again.
We learned to work and play with a different communication skill set. Thank goodness for Zoom, my personal and professional savior..
We learned that staying connected is more important than ever. That small gestures mean so much. That a kind word is the world on a lonely day.And how to appreciate the little things.
We all have things to learn. We need to look at how we can move forward into the new year with fresh eyes, a commitment to kindness and how we can make our world a better place.
To those frontline workers, I salute your dedication, your caring.To those speaking out about injustice, keep your voice active.To those who don’t feel seen or heard, I will try to do better. I need to realize I don’t understand everything but I am willing to listen and learn.
We get to carry each other.
So, today, a time for looking back. I celebrate good friends , cherished family and warm, wonderful memories.
And hoping things will be better in the year ahead. Hope springs eternal.
Here’s to a happy, healthy and hopeful new year!May you have more good news than bad in 2021, and new opportunities, goals, achievements, adventures, learning experiences and inspirations.
As someone named Clinton Kelly said: “May your life be filled with people who raise you up, and May you be smart enough to avoid the ones who drag you down.”
May 2021 be filled with moments, large and small, that define your best life.
“Oh Earth, you are too wonderful for anybody to realize you.” — Our Town
We must find our light to keep on keeping on.
With a grateful heart, peace and love.

Pixar’s ‘Soul’ Has Whimsy and Warmth

Pixar’s ‘Soul’ Has Whimsy and Warmth

By Lynn Venhaus
Oh, so clever and profound, “Soul” tackles life’s Big Questions with whimsy and warmth.

An inspiring ode to mentors and finding our ‘spark,’ this original screenplay by director Pete Doctor, co-director Kemp Powers, and Mike Jones is a fresh take on a subject we generally ignore.

Docter, the genius behind Oscar winners “Up” and “Inside Out,” has gone into new territory while the animators have done stunning, next level work we’ve not seen before.

As the first African-American lead Pixar character, Joe (Jamie Foxx) is a middle-school band teacher whose true passion is jazz. So, when he gets a shot at performing with the revered Dorothea Williams Quartet, he thinks fate has finally smiled on him. However, destiny had another crossroads in mind – and he has wound up in the “Great Before.” He is paired with a wisecracking infant soul (Tina Fey), trying to figure her life out. Traveling between realms allows him to discover what it means to have “soul.”

The music score is glorious, with hypnotic other-worldly compositions by Trent Reznor and Atticus Ross, and jazz compositions and arrangements by Jon Batiste.

Batiste, the band director of The Late Show with Stephen Colbert’s house band, Stay Human, did the piano performances for Joe in the film – his unmistakable long lean fingers gliding over the 88 keys with such joy. The man exudes optimism every time he tickles the ivories.

“Soul” is geared towards parents more than children, but lessons can be extracted for older youth.

The small moments of life are celebrated, as are the colorful personalities we meet along the way – trombonist Connie, mystic Moonwind, seamstress Melba, barber Dez, obsessive-compulsive accountant Terry, and all those Counselor Jerrys.

Tina Fey is a delight. While Joe and Soul 22 are on their big-city escapades, which are fast and funny, the ‘no-body’ discovers Earth isn’t boring – although she refers to it as “this hellish planet,” but one whiff of pizza and she’s stuffing herself with New York City street food.

Steve Pilcher’s production design of a teeming New York City is remarkable, as is his ethereal Great Before, a mix of pastels and golden lights.

In much the same way as Thornton Wilder’s prose resonates in “Our Town” — “Oh, Earth, you’re too wonderful for anybody to realize you…”, “Soul” will stay with you.

And in true Pixar fashion, one must remain for the credits – and they don’t disappoint. The production crew credits appear in the beads of Terry’s abacuses, and the infant souls play games.

Instead of the production babies’ list, they’ve titled it “Recent You Seminar graduates.’

This trip to the astral plane is “Dedicated to all the mentors in our lives,” and is to be savored.

“Soul” is a fantasy animated feature film directed by Pete Docter and Kemp Powers. Starring Jamie Foxx, Tina Fey, Angela Bassett, Phylicia Rashad, Graham Norton and Questlove, the film runs 1 hour and 40 minutes and is rated PG for thematic elements and some language. Lynn’s Grade: A. Now streaming on Disney Plus at no extra charge.
Lynn’s Grade: A

Bleak ‘The Midnight Sky’ Never Warms Up

Bleak ‘The Midnight Sky’ Never Warms Up

By Lynn Venhaus
Regret and redemption are threads running through this bleak post-apocalyptic tale that wants to have both a human touch and a big picture narrative with its duel storylines.

The year is 2049. On Earth, some mysterious catastrophe has wreaked havoc. Instead of bailing like his fellow scientists, Augustine (George Clooney) stays at the research station in the Arctic Circle. Dying of cancer, he assumes he is alone. But finds that a young girl was left behind.

When he realizes the U.S. spaceship Aether, whose work on Jupiter is over, is heading home, he tries to message them not to return or they will be in danger. It is a race against the clock.

The trouble with “The Midnight Sky” is that both journeys – in space and on land – have gaping plot holes. I tend to overthink when I’m watching science fiction, but this is hard to connect the dots at times because information – and backstory – is dispensed so stingily or not at all.

For instance, the ship’s captain, Adewole (David Oyelowo) and assistant Sully (Felicity Jones) are having a baby together but they don’t show any evidence of themselves as a couple.

In flashback, George Clooney’s character Augustine is played by Ethan Peck, the grandson of legendary actor Gregory Peck. A clip of the elder Peck’s 1959 post-nuclear bomb film, “On the Beach,” is watched by pilot Mitchell (Kyle Chandler).

Based on Lily Brooks-Dalton’s novel, “Good Morning, Midnight,” this was meant to be a cautionary tale on climate change, but then a global pandemic hit, so the theme of regret at a time of great peril – and reflecting over life’s choices – struck a timely chord.

Screenwriter Mark L. Smith, who co-wrote “The Revenant,” adapted the 2016 book, and some characters have been altered. You do get a “Gravity Meets the Revenant” vibe, but it is also reminiscent of elements in “Ad Astra,” “Interstellar” and “The Martian.”

Clooney, a magnetic actor, hasn’t been in a film since 2016 “Money Monster,” and when you first see him on screen, as this dying, haggard 70-year-old loner, you may gasp. He goes all in as a guy driven by science that had little time for a personal life. He brings an emotional depth to the taciturn character.

His poignant scenes with newcomer Caoilinn Springall as the young girl left behind have an unexpected tenderness. 

As a director, Clooney’s efforts have been hit and miss, but he’s a sharp observer and takes on dramas that have something to say (“Good Night, Good Luck”). This film, with its grand space vistas and its harsh Arctic conditions, is more technically challenging, and Clooney is overwhelmed by its scope.

The visual effects are outstanding and cinematographer Martin Ruhe has done fine work here under grueling conditions. Alexander DeSplat’s score excels in both heavenly and earthly depictions.

However, Clooney is at his best with other good actors, and this is an ace ensemble.

For all its noble intentions, after a long slog, the film leaves us wanting more. Nevertheless, we are left with a glimmer of hope, and I’ll take it.

“The Midnight Sky” is a science fiction-fantasy drama directed by George Clooney. Starring Clooney, Felicity Jones, David Oyelowo, Kyle Chandler, Damian Bechir, Tiffany Boone and Caoilinn Springall, the film runs 1 hour, 58 minutes and is rated PG-13 for some bloody images and brief strong language. Lynn’s Grade: C+. It is available on Netflix beginning Dec. 23.

Brosnahan Shines in ‘I’m Your Woman’ Crime Thriller Throwback

Brosnahan Shines in ‘I’m Your Woman’ Crime Thriller Throwback

 By Lynn Venhaus
Jean is a terrible cook. But her gangster husband Eddie (Bill Heck) doesn’t mind that she is not Susie Homemaker. She wiles the day away looking fabulous in their snazzy place, creature comforts at the ready. “I’m Your Woman” appeals not only with its gaudy look but also its subtle evolution during a distinct time period.

One day, Eddie brings home a baby. On another day, Eddie doesn’t come home. A guy named Cal arrives to drive her and infant Harry away to an undisclosed location. Jean, confused and frightened, does what she is told.

Such is the wife mindset at the time. She knew Eddie was a criminal but didn’t judge. He provided a good life for her that she didn’t look beyond. 

In this 1970s set crime drama, Jean is forced to go on the run after Eddie betrays his partners, sending her and her baby on a dangerous journey.

Well, on the road she learns a few things and learns how to adapt on her own. She wears thrift store chunky sweaters, bakes TV dinners and listens to an AM radio. She survives. And her growth as a mother is a charming aspect you wouldn’t find in a male-dominated narrative.

Jean’s hard-fought journey about being comfortable in her own skin is at the heart of the crime thriller “I’m Your Woman,” and Rachel Brosnahan embodies Jean’s progression in a genuine way. 

Brosnahan, who has won multiple awards as the title character in “The Marvelous Mrs. Maisel,” looks every bit a 1970s gal but more importantly, conveys her quicksilver moods and little moments of victory in such an endearing way.

Her talks with Arinze Kene, assiduous as the complicated Cal, are particularly strong and delve more into character than usual crime-centered fare.

Director Julia Hart, who co-wrote the screenplay with her husband Jordan Horowitz, has some issues connecting the dots but not enough to detract. 

However, she fumbles with the flow – it’s very measured and slower paced. Nevertheless, Hart can stage compelling action when necessary. And there are some bloody shoot-outs.

Noteworthy are an engaging soundtrack and a production design dense with details.

Brosnahan makes such an impression in this film that you really want to know what happened to Jean and her adorable Harry after the film ends, but glad you were able to spend time with them.

“I’m Your Woman” is a crime drama directed by Julia Hart and starring Rachel Brosnahan, Arinze Kene, Marcia Stephanie Blake, Bill Heck. Rated R for language and violence, it has a run time of 2 hours. Lynn’s Grade: B. The film premiered on Amazon Prime on Dec. 11.

One of Year’s Best, ‘Nomadland’ Is an Ode to the Open Road and Those Marginalized By Society

One of Year’s Best, ‘Nomadland’ Is an Ode to the Open Road and Those Marginalized By Society

By Lynn Venhaus
A film of remarkable grace and wonder, “Nomadland” demonstrates power in stillness as a fiercely independent woman makes her way along the ribbon of highways through Arizona, the Dakotas, California and other places.

Fern (Frances McDormand) packs up her van and sets off on the road, finding work along the way, as she joins other modern-day nomads off-the-grid in the American West. It’s a transient life outside of conventional society, with freedom a trade-off. A widow, she lived in Empire, Nevada, but the company town collapsed when the sheet-rock facility closed in 2011, an economic victim in the Great Recession. This is Fern’s hard-fought middle-age journey.

In writer-director Chloe Zhao’s third film, she charts a third-act journey that is authentic in every possible way, making the impact even greater by using real-life people as Fern’s friends and mentors.

Linda May, Bob Wells and Charlene Swankie are memorable characters in this subculture. The only actor besides Frances McDormand is the superb character actor David Strathairn, who plays Dave, a park ranger she runs into on several occasions and develops a friendship with, and they later work together.

Based on journalist Jessica Bruder’s 2017 book, “Nomadland: Surviving America in the 21st Century,” Zhao draws on that experience, where Bruder documented itinerant Americans while living in a camper van for three years and traveling 15,000 miles.

As blue-collar Fern, McDormand delivers another lived-in performance that doesn’t have a false move. She fits in the landscape in a thoroughly believable way, her face a roadmap of a life lived on her terms.

Still grieving her husband, who died of cancer, and reducing her memories to a few boxes in the van she lives in, Fern shows strength in the roads not taken. She’s resourceful and resilient, not able to retire in a society that has marginalized her.

She depicts the dignity of hard work, whether it’s boxing up orders at an Amazon warehouse or working as a seasonal fry cook. She captures the essence of Fern, a restless soul who can no longer settle down. As opportunities for work and better conditions come along, we see her embrace the alone time.

When some former neighbors run into her, she refuses to be pitied. “I’m not homeless, I’m houseless.” There is a difference, she emphasizes.

With the stunning backdrop of the West’s natural beauty, we feel her loneliness but also the sense of community shared by other self-sufficient RV-living travelers. They learn from each other, show compassion in their humanity and maintain that connection: “See you down the road.”

Zhao also edited the film, and the way she frames shots is a beautiful thing. So is the camera work by cinematographer Joshua James Richards.

Composer Ludovico Einaudi has created a haunting piano score that beautifully captures the moods depicted.

“Nomadland” is one of the best films of the year and shows why McDormand is an uncommon talent full of enormous depth and sincerity. Every move she makes is reality-based, and we are the richer for her portrait, as we all try to understand the human condition ourselves.

“Nomadland” is a drama written and directed by Chloe Zhao, starring Frances McDormand, David Strathairn. Rated R for some full nudity, it is 1 hr. 48 min. long. Lynn’s Grade: A+