David Fincher is a director who is all about silhouettes, repeated action-take shots, faded scoring, and cinematography.  He is an auteur director who found his inspiration to be a filmmaker from the George Roy Hill classic Butch Cassidy and the Sundance Kid (1969). In Mank, Fincher’s well-known film elements are there, however, this movie is different than what his fans normally love. His father, Jack Fincher (who was born in 1930 and died in 2003), wrote the screenplay for Mank based on the era in which he lived. Mank is a biographical setup with black and white cinematography. The film is a true story that transitions between present and past through the life of Herman J. Mankiewicz (played by Gary Oldman), called Mank for short. The performance by Oldman as Mank is enthralling. Mank’s connections and subsequent withdrawals with various people in the era of 1930s Hollywood is thought-provoking. The luminous story is where the film is a triumph due to the brilliant acting by Oldman and directing by Fincher.

The plot of the film is solely focused on Herman J. Mankiewicz. Throughout the film, the movie business is featured during an era when there were no technological advancements. The film shows Mank in many endeavors ranging from coming up with film ideas for success to determining what studios are looking for.  Most importantly, the story is about Mank trying to achieve accomplishments in the film industry, while also dealing with his alcohol abuse. The other characters question Mank and his behavior throughout the movie.  They include Marion Davies (played by Amanda Seyfried), Rita Alexander (played by Lily Collins), Charles Lederer (played by Joseph Cross), William Randolph Hearst (played by Charles Dance), and many other important characters who question his decisions. The worrisome, yet entertaining factor is that the scenes take place during the development of the Orson Welles’ classic Citizen Kane (which officially released in 1941). Oldman has the sense of humor, the looks, and the egotistical manner which defines his performance and makes it Oscar-worthy.

I found myself having to pay more attention to Mank to stay interested. Most of Fincher’s films hold your attention with his action scenes and harrowing moments.  To be entertained by Mank, it requires viewers closely follow the story and the characters. While watching the film, I had to focus on the conversations and the various conflicts to keep myself abreast of the premise.  Mank’s erratic humor can almost lead towards disbelief. “But you sir, how formidable people like you might be if they actually gave at the office.” This quote is from a conversation with one of the filmmakers and it truly shows that everyone associated with Mank knows he is a self-absorbed cynical jerk much of the time. Mank does not care, and that is where I found the movie captivating.  Specifically, he keeps pushing to take risks with his films and his health issues in order to make bank in a time when Hollywood’s focus was on the content speaking to audiences over the plot of films.

Mank is brilliant with its acting, its story, and its structure, but it is quiet. I enjoyed it, but not as much as originally expected.  Some portions were rewarding mainly due to the cinematography, the writing, and how faithful it is to the life of Herman J. Mankiewicz through the eyes of David Fincher and his father. I believe that it is an essential film that simply requires viewers to think…a lot.  Three stars.

From the start of the film to the end, David Byrne’s American Utopia is a monumental and uplifting performance that many fans will cherish for ages. The film is set in concert-mode and it continues throughout its hour and forty-five-minute running time. The stage setup, the camera angles, and the cinematography combine for pure astonishment that will blow viewers away. The songs of Byrne are ones that will elicit deep joy from fans.  I felt positive vibes throughout the film which endured even once it ended.

There is not a plot, but there is an objective throughout the concert/movie. Specifically, the objective is to deliver zeal to viewers through the eyes, the words, and the music of David Byrne. Byrne creates many compelling connections and brings them to life through diverse choreography that make his American Utopia performance extremely unique and genuine. Many from around the world will feel touched by the credit Byrne gives to each of his performers in the concert/movie. Giving credit is only one way that Byrne touches the hearts of his fans in his American Utopia performance. He also credits much of his music back to The Talking Heads, the group that Byrne was the master and creator of which sadly that came to an end in 1990. Byrne has still got it…with the voice, the dancing, and the brilliant mind for music that explains and celebrates life.

What especially spoke to me throughout the film’s concert performance was how during the transitions between songs, Byrne speaks to his fans about life and challenges. He has a wonderful way of tying his commentary to the upcoming songs on his setlist. Director Spike Lee (who is brilliant for catching and repeating angles in his films) directs the concert in a narrative tone. With classic songs ranging from Slippery People to This Must Be the Place to Burnin’Down the House, I felt like I was transported to a universe of a bright mindset. Byrne’s connections to life and reality created through his songs had me longing for more. It is abundantly clear that Byrne is a true influencer of life-changing music.

I saw David Byrne back in 2018 at the Auditorium Theatre of Chicago when he was touring with American Utopia. That was an amazing concert, but at a much different venue. The Hudson Theatre of New York featured in the film made the experience much more intimate and joyful. Especially in these uncharted times, David Byrne’s American Utopia is the concert film that audiences need and will love right now. I loved Byrne’s words both in and between his music, and I loved the audacity of Lee’s directing which made this a visual concert experience like no other. Four stars.

The unsettling scenes during the 1960s in North Dakota and Montana makes Let Him Go stand out as a film that shows how far families will go to protect the ones they love. This film is triumphant and touching, and the suspenseful moments left me with deep, mixed emotions. Kevin Costner and Diane Lane deliver knockout performances. They demonstrate resilient attitudes with no fear in their efforts to save their grandson from a dangerous life they do not him to endure. The key question they face on their journey is just how dangerous? 

In Let Him Go, Costner and Lane play George and Margaret Blackledge who have a son that died.  They are left with their daughter-in-law, Lorna (played by Kayli Carter), who marries Donnie Weboy (played by Will Brittain) shortly after the death of her husband.  Margaret realizes from a distance that Donnie abuses Lorna and her young boy. Once they try to be more in touch to ensure the safety of their daughter-in-law and grandson, they are informed that Donnie has taken them both to Montana to be near the rest of the Weboy family. This action prompts George and Margaret to travel to Montana to get their grandson back and try to help Margaret take the right steps to get out of her abusive relationship.  Infinitely, they soon learn that the Weboy family are all insane and dangerous.

The element that I found the most intriguing in the film was how little music was used to create tension and suspense.  Instead, the director relied on the scenery and conversations to heighten the conflict involving George and Margaret trying to find safety for Lorna and their grandson. This is amplified with harrowing moments when George and Margaret realize that Blanche Weboy (played by Lesley Manville), Bill Weboy (played by Jeffrey Donovan), Marvin Weboy (played by Adam Stafford), and Elton Weboy (played by Connor Mackay) are all encouraging Donnie’s abusive and manipulative behavior almost as though it’s mandatory. The manipulative dynamics of the Weboy family cause the film to take a different turn as George and Margaret must figure out how to put an end to the abuse of Lorna and her son. The Weboy’s possess big egos and violent backgrounds which result in a dangerous situation that is almost impossible to change.

The harsh family dynamic within the Weboy clan is where the evil lies. No matter how civilized George and Margaret try to be with this crazy family, the Weboy’s continue to do more damage. I found those moments in the film to be attention-grabbing, because most film’s like this are somewhat predictable.  However, Let Him Go is not as predictable as many would assume. The violence and unexpected brushes with danger have answers that are haunting and not what viewers would expect. It leads the audience on a trail of questions, and I felt like I was putting together a puzzle of who may or may not survive.

Will George and Margaret be able to ensure their daughter-in-law and grandson can get out of this dynamic of danger? Can they overcome this insane family and manipulative behavior? Or can George, Margaret, and Lorna prove the Weboy’s wrong? The answers to all these questions are eventually revealed in Let Him Go. Some may leave the film disturbed by how things turn out, and some may be relieved. However, it is a worthy film of how families care enough to protect ones they love. Three and a half stars.