November 2019 – Reel Time With Richard Ades

Sly script and unlikely casting fuel delightful whodunit

Knives Out detectives — Private eye Benoit Blanc (Daniel Craig, left) searches for clues with the help of police Lt. Elliott (LaKeith Stanfield, center) and Trooper Wagner (Noah Segan). (Photo by Claire Folger/MRC II Distribution Co.)

By Richard Ades

Unfolding like a typical murder mystery, Knives Out dares viewers to answer the all-important question: Who cast Daniel Craig as a Southern private eye?

No, actually, the question is: Who killed Harlan Thrombey? As for Craig, it eventually becomes apparent that the erstwhile James Bond was cast as Virginia gumshoe Benoit Blanc simply for the hell of it, or perhaps as a sign that writer/director Rian Johnson (Star Wars: The Last Jedi) plans to have a little fun with the genre film.

And with the help of Craig and additional big-name stars, that’s just what he does.

The tale starts out conventionally enough. After a housekeeper finds successful mystery writer Harlan (Christopher Plummer) with his throat slit on the morning after his 86th birthday, police Lt. Elliott (LaKeith Stanfield) and Trooper Wagner (Noah Segan) begin investigating. Forensic evidence points to a suicide, but there are reasons to suspect foul play.

Not the least of them is the presence of Blanc, who is helping with the investigation after being hired by someone whose identity even he doesn’t know. Why would an anonymous benefactor pay the “gentleman detective” big bucks to investigate a suicide?

With Blanc’s help, the police also discover that several members of Harlan’s extended family—all of whom were present for his birthday party the night before—had motives for wishing him harm. Flashbacks show that Harlan had last-minute confrontations with others over misdeeds ranging from larceny to an extramarital affair. In some cases, he simply decided they were no longer worthy of his financial support.

Those caught up in the web of suspicion include:
• Linda (Jamie Lee Curtis), a real estate mogul and Harlan’s daughter
• Richard (Don Johnson), Linda’s husband
• Ransom (Chris Evans), their playboy son
• Walt (Michael Shannon), Harlan’s son, who runs his publishing house
• Donna (Riki Lindhome, Walt’s wife
• Jacob (Jaeden Martell), Walt and Donna’s internet-trolling son
• Joni (Toni Collette), a lifestyle guru and widow of Harlan’s older son
• Meg (Katherine Langford), Joni’s daughter

Knives Out Marta in middle — Embroiled in Harlan Thrombey’s murder investigation are (from left): Trooper Wagner and Lt. Elliott (Noah Segan and LaKeith Stanfield); Harlan’s caretaker, Marta Cabrera (Ana de Armas); his grandson, Hugh “Ransom” Drysdale (Chris Evans); and detective Benoit Blanc (Daniel Craig).

Also around, but considered beyond suspicion, are Fran (Edi Patterson), Harlan’s housekeeper; Marta Cabrera (Ana de Armas), his loving nurse; and “Great Nana” Wanetta Thrombey, Harlan’s ancient and mostly silent mother.

As the investigation proceeds, Marta becomes an increasingly important resource to Blanc and the police. A young immigrant with an undocumented mother at home, she earns Blanc’s trust because (1) she clearly was Harlan’s closest friend and (2) she has an odd, if disgusting, disorder that renders her incapable of lying without vomiting.

With its plethora of suspects and red herrings, Knives Out at first resembles a typical murder mystery. Surely, we think, it’s only a matter of time before Blanc arrives at the truth. But then writer/director Johnson confounds our expectations by allowing us to learn what happened while the investigators are still in the dark—except that he doesn’t really, because there’s still a last-minute reveal that will take pretty much everyone by surprise.

Further differentiating the flick from the average whodunit is its class-consciousness. Marta, as portrayed by de Armas, comes off as a kind-hearted caretaker who’s been treated shabbily by Harlan’s entitlement-blinded relatives. Not only do they fail to invite her to her beloved patient’s funeral, but they can’t even remember what country she’s from.

In short, Knives Out amounts to sly, quirky fun brought to life by a great, committed cast. Leading it all, Craig revels in the role of the drawling, cigar-smoking Blanc, who may or may not live up to his reputation as a brilliant detective. As with everything else in the flick, we just have to wait and see.

Rating: 4 stars (out of 5)

Knives Out (PG-13) opens Nov. 27 at theaters nationwide.

Iconic musical’s power emerges despite shadowy challenges

05_LM_TOUR_One-Day-More-Photo-Matthew-Murphy-800x408 — The cast of *Les Miserables* asks for “One Day More.” (Photo by Matthew Murphy)

By Richard Ades

It’s when the latest incarnation of Les Misérables nears the halfway point that it begins hitting its stride. It’s then that we’re introduced to a group of young revolutionaries whose faith in their cause adds new layers of tragedy and nobility to the tale. The production builds from there to a climax that is just as glorious and moving as it was meant to be.

In the early scenes, however, this telling of fugitive Jean Valjean’s struggles has quirks that limit its effectiveness. Based on a 2014 Broadway revival and directed by Laurence Connor and James Powell, the touring production incorporates scenery based on paintings by the tale’s original author, Victor Hugo. But it also employs a lighting design (by Paule Constable) so dark that it’s hard enough to see the actors, let alone the scenery behind them.

This is not so much a problem for those of us who’ve seen the musical multiple times, but it might discourage first-time viewers. Particularly during the fast-paced first act, they could well struggle to keep up as the story races from one dramatic development to the next.

For those who aren’t familiar with the tale, Les Miz takes place in 19th-century France and centers on Jean Valjean, who was imprisoned for 19 years simply because he stole a loaf of bread. Released on parole as the show opens, he struggles against his own bitterness—as well as the suspicion that greets a former convict—until a clergyman’s generosity allows him to reinvent himself. He then pledges himself to a life of helping others, but he’s forever dogged by a police official named Javert who’s determined to bring him to justice for breaking parole.

02_LM_TOUR_0371_Josh-Davis-and-Nick-Cartell-800x533 — Nick Cartell (right) as Jean Valjean and Josh Davis as his nemesis, Javert

Drenched in pathos and death, the Alain Boublil/Claude-Michel Schonberg blockbuster is admittedly melodramatic, but it succeeds on the strength of the achingly beautiful songs penned by composer Schonberg and lyricist Herbert Kretzmer. That is, it succeeds when the cast does the songs justice.

What bothers me more than the current production’s dark lighting is that male leads Nick Cartell (Jean Valjean) and Josh Davis (Javert) sometimes make the melodies subservient to the drama—that is, they shout rather than sing the words. It’s an ill-advised technique that means we get only approximations of some of the most gorgeous songs in the musical-theater canon.

Fortunately, both actors have strong moments when they skip the shouting. Cartell displays his fine voice on the falsetto showcase “Bring Him Home” and makes Valjean an increasingly sympathetic figure as the show progresses. As for Davis, he has a limited voice that keeps him from being one of the all-time great Javerts, but he turns the Act I solo “Stars” into a near-showstopper on the force of will alone.

There are parts of the musical that are guaranteed some degree of success no matter how well they’re staged: the plight of single mom Fantine (Mary Kate Moore), say, or the comic antics of those conniving innkeepers, the Thenardiers (Allison Guinn and Jimmy Smagula). It’s when the plot hops several years into the future and introduces new characters such as the aforementioned student revolutionaries that Les Miz sometimes struggles to regain its footing.

Luckily, that’s exactly when the touring production comes into its own.

From this point, the scenery of Matt Kinley begins emerging from the shadows: a silhouetted barricade, a sewer system that appears to arise magically from the stage. The former is the setting for a legitimately horrific battle, complete with the sounds of musket fire and whistling bullets, as the young rebels take a stand against repression.

10_LM_TOUR_1004_ABC-Cafe-and-Matt-Shingledecker-as-Enjolras-800x533 — Enjolras (Matt Shingledecker) entreats his fellow malcontents to rebel against the government.

The characters introduced at this time are all brought vividly to life by accomplished actors: Brett Stoelker (filling in for Matt Shingledecker on opening night) as rebel leader Enjolras; Phoenix Best as the Thenardiers’ lovestruck daughter, Eponine; Robbie Crandell and Jasper Davenport alternating in the role of plucky street urchin Gavroche. Among the strongest are Jillian Butler as Valjean’s orphaned ward, Cosette; and Joshua Grosso as Marius, the rebel who falls for her. Their sweet voices and sincere delivery make us believe in love at first sight.

Hope in the power of love despite overwhelming adversity: That’s the final message of Les Misérables, and it still comes through as clearly as ever.

Broadway in Columbus and CAPA will present Les Misérables Nov. 19-24 at the Ohio Theatre, 39 E. State St., Columbus. Showtimes are 7:30 p.m. through Thursday, 8 p.m. Friday, 2 and 8 p.m. Saturday, 1 and 6:30 p.m. Sunday. Running time: 3 hours (including intermission). Tickets are $79-$150+ (regular or verified resale). 614-469-0939 (CAPA), 1-800-745-3000 (Ticketmaster), columbus.broadway.com, capa.com or ticketmaster.com.

Uncovering the CIA’s torture coverup

The Report - Still 1 — Daniel Jones (Adam Driver) takes on the task of investigating the CIA’s use of “enhanced interrogation techniques” in *The Report*.

By Richard Ades

About three-quarters of the way through The Report, I had a sudden urge to re-watch Z. Like Costa-Gavras’s 1969 political thriller, the new film is about a dogged effort to uncover a vast, bureaucratic lie.

Written and directed by Scott C. Burns, The Report is based on an actual congressional investigation into the CIA’s use of “enhanced interrogation techniques” in the post-9/11 war on terrorism. Adam Driver stars as Daniel Jones, who in 2007 is hired by Democratic Sen. Dianne Feinstein (Annette Bening) to lead the investigation.

It proves to be a slow and nearly impossible task. Because the CIA is offering minimal cooperation, Jones’s team must uncover the evidence one piece at a time by looking through the records surrounding terrorist suspects who fell into the agency’s custody. All the while, team members are assaulted with the charge that they’re being unpatriotic.

Torture was necessary, officials tell them, in order to save lives by uncovering terrorist plots before they could be carried out. But as the years pass, Jones begins gathering evidence that torture was actually ineffective and even counterproductive.

Unlike the exciting, sometimes satirical Z, The Report is filmed in a low-key docudrama style that takes us step-by-step through Jones’s search for the truth. It takes breaks from that search only in the form of painful flashbacks to the years when suspects were subjected to waterboarding and other forms of torture supposedly based on scientific research.

The Report (2019) — Jon Hamm as White House chief of staff Denis McDonough

Through it all, Driver makes Jones a stalwart figure whose commitment to the investigation begins to resemble obsession. Even more interesting is Bening’s Feinstein, who is being pulled in two ways. She clearly wants to uncover the truth, but she is being pressured by the Obama administration—as represented by White House chief of staff Denis McDonough (Jon Hamm)—to let the CIA keep its secrets. After all, the last thing the Democrats need is to be accused of being soft on terrorism.

The resulting clash between conscience and political expediency creates a dramatically satisfying tale that’s also a fascinating piece of history.

Rating: 4 stars (out of 5)

The Report (rated R) opens Nov. 15 at the Gateway Film Center in Columbus.

Misconceived romcom may appeal to Wham! fans

Things start looking up for Kate (Emilia Clarke) after she meets Tom (Henry Golding) in *Last Christmas*. (Universal Studios)

By Richard Ades

Take the trappings of a romcom, add a dash of A Christmas Carol, set the tale in a festively lit-up London and fill the soundtrack with a whole bunch of George Michael songs. What you end up with is a holiday movie that’s guaranteed to appeal to—well, George Michael fans.

It’s hard to see who else would be attracted to the gauzy, glittery confection known as Last Christmas. Especially after the flick throws in a last-minute twist that is likely to please no one.

Co-written and produced by Emma Thompson, the story centers on Kate (the lovable Emilia Clarke), a young woman who is spiraling downward for no reason that is immediately apparent.

Maybe it’s because she works as an “elf” in a Christmas-themed store but really wants to be an actor. Or maybe it’s because she can’t stand being around her mother (Thompson), who insists on singing downbeat songs from their native Yugoslavia.

Then again, the store is run by a Chinese immigrant named Santa (Michelle Yeoh) who is supportive and patient even when Kate screws up. And her mother is a kind woman whose main fault is doting on her wayward daughter. So what is Kate’s problem?

Eventually, it comes out that her doldrums began after a health crisis that would have killed her if she hadn’t received a heart transplant. But again, it’s not quite clear why the ordeal has left her feeling depressed rather than lucky to be alive.

No matter. Things start looking up after Kate meets Tom (Henry Golding), a buoyant stranger who encourages her, literally, to start looking up—the better to discover overhead surprises she otherwise would have missed. She quickly grows to love this mysterious stranger who seems too good to be true.

Uh-oh. If you’re a romcom fan, you’ll know that can only mean their relationship is about to hit a snag, though it’s probably not the kind you envisioned.

Last Christmas is directed by Paul Feig, who helmed 2011’s entertaining Bridesmaids and 2016’s disappointing Ghostbusters. Here, he compounds the script’s problems by turning London into a sparkling wonderland where even homelessness is a joyful experience. He also stops the action frequently for perky music video-style montages. None of this helps us to understand miserable Kate or her need for a savior like Tom.

London, of course, was the setting for Dickens’s A Christmas Carol, the classic tale of a miser who finally learns that the purpose of life is to help others. Last Christmas tries to teach a similar lesson, but it mostly gets buried under the glut of glitz, jollity and George Michael tunes.

Rating: 2 stars (out of 5)

Last Christmas (PG-13) opens Nov. 8 at theaters nationwide.