Catching Up: 'Slalom' and 'City of Lies'

Considering the onslaught of new releases in theaters and on streaming outlets, it's almost impossible to keep up. So, from time-to-time, I'll be running a feature called Catching Up. In it, I'll take a look at movies that I didn't review at the time of their release.

Slalom

Lyz (Noee Abita) is a 15-year-old who's training to be a competitive skier. To advance her career, she attends a rigorous training facility in the French Alps. Lyz quickly develops under the tutelage of the school's ski instructor (Jeremie Renier). Director Charlene Favier carefully depicts the relationship between Lyz and a tough trainer who believes Lyz has championship potential. Renier's Fred takes a keen interest in Lyz's physical attributes: everything from weight to menstrual cycles. It's part of what he deems necessary to develop a high-caliber skier, and he goes about his work with business-like efficiency. Lyz's confidence grows but her relationship with Fred shifts. His interest in her eventually becomes sexual, allowing Favier to explore the dynamics of a relationship based partly on power.  The older Fred draws young Lyz into his world, inviting her to stay at his quarters and using the word "we" when he refers to her achievements. Favier's dizzying camera follows Lyz through her event -- the slalom -- but the heart of the story lies in showing how a relationship between student and mentor can be perverted. Credit Abita with a performance that embodies Lyz’s ambition, as well as her confusion when a coach betrays her trust.

City of Lies

Johnny Depp and Forest Whitaker headline City of Lies, a police procedural that takes yet another look at the murders of rap artist Christopher Wallace (Notorious B.I.G.) and Tupac Shakur. The movie has been around since 2018 and just now is finding its way into release. Working form a book by journalist Randall Sullivan, director Brad Furman tells a story about corruption and cover-up in the Los Angeles Police Department. Depp portrays Russell Poole, a former detective who can't abandon his obsession with Wallace's murder. Whitaker plays the journalist who prods Poole to share his story, which Theo movie presents in sometimes confusing fashion. Poole finds himself at odds with the LAPD because he believes corrupt members of the department were involved in Wallace's murder. Much of the dialogue between Depp and Whitaker amounts to exposition -- albeit delivered in the language of the streets. Furman begins the story when a white undercover cop (Shea Whigham) shoots a man, later identified as an undercover cop,   during a road rage incident.  All of this takes place against a backdrop tainted by the Rodney King beating and the LAPD’s Rampart scandal. Whitaker does what he can to create a character of interest opposite Depp's equally solid portrayal of a loner whose path to the truth has been blocked at nearly every turn. Overall, City of Lies seems more intent on wallowing in LA grit than in finding a powerful through-line for its two stars and the large cast that surrounds them.

A KKK zealot finds a measure of redemption

In Burden, a member of the Ku Klux Klan finds redemption when he encounters a black preacher for whom the Klansman poses an extreme test of love and forgiveness. That sounds interesting and, at times, Burden fulfills its promise. Overall, though, the movie — set in a small South Carolina town in 1996 and based on a true story — takes obvious aim at white supremacy and makes us wonder whether the redemption of a Klansman is worth more attention than the stories of those victimized by the organization's hate. Garrett Hedlund gives the year’s twitchiest performance as Mike Burden, a Klansman who earns his living repossessing TVs. Mike is part of a Klan faction that has decided that what his town needs is a KKK museum. A local black clergyman (Forest Whitaker) leads protests against the museum. The museum's founder, a Klan honcho played by Tom Wilkinson, raised the orphaned Mike on a diet of supremacist ideology and white rancor. Director Andrew Heckler doesn’t explain Mike’s distracting shuffle and bobblehead movements until late in the movie, too late to keep them from driving us crazy. Mike’s reformation begins when he meets Judy (Andrea Riseborough), a young mother who has no use for the Klan. Her son plays with black children, just as Mike did when he was a kid. Heckler’s unsteady direction works against involvement in a story that spends too much time in KlanWorld. Tensions between Whitaker’s Reverend David Kelly and his son deserved more attention and I left unconvinced by the movie's suggestion that love conquers hate. How about fair laws, rigorous enforcement, and public condemnation? Just sayin'. Though intermittently effective, Burden stands as an anecdote straining to carry a larger message.

War? What's it good for? A 'Star Wars' movie that pits rebels against the Death Star

Rogue One may stand alone, but it doesn't stand above the best Star Wars movies.

Rogue One: A Star Wars Story takes place at a time when The Empire, imperial source of all evil, is in the process of constructing a Death Star, a weapon so powerful it can destroy entire planets.

As familiar as that may sound, Rogue One turns out to be a slightly different kind of Star Wars adventure. Production notes for the movie describe it as a stand-alone effort -- albeit one that's meant to fit into the Star Wars universe.

Led by director Gareth Edwards (Godzilla, Monsters), the Disney team takes us on a less-than-epic tour of a darkly hued Star Wars world. We meet a ragtag group of rebels that fights the massive Empire, but the movie mostly takes the twinkle out of Star Wars' eyes, opting instead for a battle-heavy extravaganza with stunt-and-grunt impact.

Felicity Jones plays Jyn Erso, a young woman whose father was a scientist who tried to hide from the Empire but later was captured and forced to work on the Death Star. When the movie opens, Jyn and her father (Mads Mikkelsen) are living in isolation on a remote planet.

Troops from the Empire swoop in, kill Jyn's mom and take Dad prisoner. Jyn escapes, and grows into a young woman who's recruited by rebels.

Cinematographer Grieg Fraser (Zero Dark Thirty, Foxcatcher) seems to prefer dark imagery that often obscures the actors, which isn't altogether bad considering that Jones's performance feels a bit muted. She's the latest version of a female protagonist who can handle herself -- and others.

Cassian Andor (Diego Luna) leads the rebel mission which is supposed to locate Jyn's father. Neither Cassian nor Jyn initially wants anything to do with the other; it's not providing anything by way of spoilers to say that their relationship evolves -- although it doesn't ignite much by way of sparks.

The other characters include Chirrut (Donnie Yen), a blind monk who knows how to use The Force. Baze Malbus (Jiang Wen) serves as Chirrut's less well-kempt pal.

Other characters include the morally ambivalent Bodhi (Riz Ahmed), and K-2SO, a long-armed droid voiced by Alan Tudyk with 3-CPO intonations. K-2SO comes closest to giving the movie a big of comic spin. It tells you something about this massive enterprise that the character with the most humor is a droid.

The opening of the movie does a bit of confusing planet hopping, before explaining the role that's being played by an oxygen-snorting character portrayed by Forest Whitaker.

You'll also see brief appearances from Darth Vader, but the evil Empire mostly falls under the leadership of Krennic, who appears in a white cape and is played by the always menacing Ben Mendelsohn.

Alien creatures also appear, but this time, few are played for laughs.

I always get a bit lost in Star Wars jargon, so forgive me if I'm wrong in saying the planet Jedha is where much of the movie's explosive urban warfare takes place. A climactic battle is set on Scarif, a planet with beaches and palm trees that give the movie a war-in-the-Pacific flavor.

By the end, Edwards pretty much turns Rogue One into an action blur (on the ground and in space), an interminable battle in which, among other things, space ships and space stations ram into one another with brute force, but without much by way of the rousing thrills.

References to predecessor movies let us know that we are, indeed, in the Star Wars universe, and Rogue One definitely benefits from the association. I'm not sure how it would fare as separate hunk of sci-fi. Probably not so well.

Edwards evidently wanted a bit of war-movie verisimilitude to characterize this journey into the Star Wars universe. That doesn't mean there's no zap and pow to the battles, but it makes you wonder whether the filmmakers have had a memory lapse. Isn't Star Wars supposed to be a fantasy -- telling but still a fantasy?

Oh well, the Star Wars canon is vast, and more movies are planned. But for all its huffing and puffing, this one only intermittently feels like a full-blown helping of deep-space fun.

One thing you can bet on: Devotees don't much care what critics think and will spend lots of time hashing this one out among themselves. If you've grown past that point in your life, I wouldn't say Rogue One, though hardly a bad movie, offers sufficient reason not to get on with other business.

Does anyone here speak alien?

Arrival ponders how to speak with beings from another world..

Arrival has the courage to be a sci-fi movie about the mind-bending effects of language, a heady theme presented with a welcome avoidance of apocalyptic special-effects.

The movie's main character is a linguist who finds herself in the middle of a frantic effort to understand the language of aliens who have parked 12 oval-shaped, 1,500-foot high vehicles on various portions of the globe.

Taken from author Ted Chiang's Story of Your Life, Arrival ponders the idea that language dominates perception. Fair enough, but what if we were encountering aliens? How would we grasp their written language if it were conveyed in odd looking symbols that resembled a cross between Christmas wreaths and an unidentified form of insect life?

Amy Adams plays Dr. Louise Banks, the academic charged with solving this puzzle. When we meet Dr. Banks, she's mired in grief for a daughter who recently died of cancer.

On what seems to be a normal morning, Dr. Banks arrives at her class only to find it almost empty. It quickly becomes apparent that Dr. Banks's students -- like everyone else on the planet -- have become transfixed by the arrival of alien crafts, a boon to the 24/7 news cycle, as if it needed one in the age of Trump.

An army colonel (Forest Whitaker) soon shows up to enlist Dr. Banks's help in talking to the aliens. The major question: Why have they arrived?

Dr. Banks insists that she can't tell anything from the colonel's recording of alien sounds; she needs direct contact with the aliens if she's to make sense of their language.

Director Denis Villeneuve (Sicario, Incendies) makes any number of smart choices, the most important of which involves early exposure to the aliens, octopus-like creatures referred to by earthlings as heptapods. Villeneuve seems less interested in how creatures from other worlds might look than in how we might talk to them.

To begin her work, Dr. Banks -- and others -- enter the craft and approach the aliens, who remain behind a transparent barrier. To reach the aliens, the anxious earthlings must walk through the vessel's tunnel-like approach where gravity goes topsy turvy. Eventually, the aliens emerge from a smokey haze.

The aliens communicate with deep sounds that evoke images of lonely whales or perhaps a wounded moose. They write by squirting inky figures from tentacles that splay and open like flowers. How exactly Dr. Banks determines how to read these figures isn't spelled out with much detail.

Effects aside, the movie depends heavily on Adams performance and on Villeneuve's willingness to avoid overstatement.

Adams gives Dr. Banks a sense of reserve that makes it clear that she's on a two-fold journey -- one having to do with communicating with the aliens; the other relating to coming to terms with grief. Accepting life means also accepting that all lives must end.

Dr. Banks works with a theoretical physicist (a subdued Jeremy Renner). Renner doesn't have much to do aside from occasionally asking Dr. Banks whether she's holding up under the strain of it all.

Jenner's Ian Donnelly doesn't know that Dr. Banks is having what are presented as unsettling flashbacks to moments she shared with her daughter; Villeneuve smartly hides the meaning of those flashbacks until the movie's intellectually trippy ending, which involves the way language influences our perception of time.

Simultaneously spectral and down-to-earth, Arrival casts a hypnotic spell, but that doesn't mean it achieves perfection.

In case the arrival of aliens on Earth weren't enough for one movie, the screenplay by Eric Heisserer adds a drearily familiar clash between scientists and the military.

A Chinese General (Tzi Ma) grows weary of trying to talk to the aliens and issues an ultimatum. Either leave in 24 hours or be attacked.

Can Dr. Banks discover the key to alien intentions before General Shang destroys the possibility for communication? Will the movie's resident CIA agent (Michael Stuhlbarg) stop Dr. Banks from finding a peaceful resolution to the conflict?

At its best, Arrival does what only movies can accomplish; it transports us into a reality that feels strange, unfamiliar and urgently important.

But it also can deflate such feelings with plot elements that undermine the movie's interest in the nature of time, the power of language and the gap between intellectual knowledge and emotional realization.

Still, those elements are there, and they make Arrival sci-fi with a difference: It's at least trying to be smart.

Hard punch, but no knockout

Jake Gyllenhaal plays a boxer who hits the skids in director Antoine Fuqua's Southpaw.

In the realm of boxing movies (Body and Soul and Raging Bull being two of my favorites), Southpaw hardly qualifies as a contender.

Boxing movies tend to punch hard, but that doesn't mean they should be totally lacking in nuance. A predictable story about the rise, fall and ultimate redemption of a boxer played by Jake Gyllenhaal, Southpaw serves up plot points with all the subtlety of a clenched fist pounding a vulnerable face.

A Hip-Hop veneer masks some of the cliches, but director Antoine Fuqua (Training Day) creates an in-your-face drama that fails to stake out a claim either as an example of hard-core realism or Rockyesque fantasy.

Brutal and bloody, Southpaw revolves around Gyllenhaal's performance as Billy Hope, a light-heavyweight champion whose rage ignites a dramatic and precipitous fall from grace.

Gyllenhaal effectively communicates Billy's polarity: fury coupled with occasional tenderness. Reticent and emotionally bottled up, Billy mumbles through a mouth that never seems to fully open.

I'd say that Gyllenhaal was better as a rogue TV cameraman in last year's Nightcrawler, but he's never anything less than intense in Fugua's full-bore assault on the senses.

Raised in a New York City orphanage, Billy is married to Maureen (Rachel McAdams), another product of the city's indifferent child-care system. They live in a mansion, want for little and have a loving marriage.

Early on, we learn that Maureen thinks Billy should take a break from boxing; she believes he's only a few steps away from permanent brain damage.

Oona Laurence plays the cute, bespectacled daughter who increasingly figures into the plot.

I'll leave the family drama for you to discover in a theater, but you should know that a terrible calamity results in Billy hitting the skids and being discarded by his self-serving manager (Curtis "50 Cent" Jackson).

Billy also takes a Jake LaMotta style beating in the ring, a form of self-inflicted punishment. Billy apparently wants to pay for his sins.

When Billy finally embarks on the comeback trail, he receives help from the tough-minded proprietor of a run-down gym, a worn-looking Forest Whitaker.

Whitaker's Tick Willis, who works with poor kids, teaches Billy the fine art of defense, convincing him that his future depends on controlling his anger -- both in and out of the ring.

Fuqua goes to great lengths to make the audience feel the punches that are thrown in the ring, and he certainly conveys the dizzying excitement that surrounds a major fight, a couple in Madison Square Garden and another in Las Vegas.

But when the final bell sounds, Southpaw stands as a movie steeped in a fatal contradiction: It talks loudly and boldly, but has nothing much to say. It's full of intense close-ups, but almost totally lacking in elevating perspective.

Hard times in Pennsylvania

Despite intense acting, Out of the Furnace doesn't quite make the cut.

Almost every moment in Out of the Furnace -- a brooding working-class drama steeped in Rust Belt realism -- seems amplified in what feels like a strained search for meaning.

Boasting a terrific bad-ass performance by Woody Harrelson, the movie nonetheless seems an ultimately failed attempt to give pulpy material a socially significant boost. Director Scott Cooper (Crazy Heart) tries for thematic elevation by garnishing a revenge-oriented drama with woes created by diminished economic opportunity and the psychological suffering of Iraqi war veterans.

Cooper (Crazy Heart) builds his generally grim movie around an intense performance by Christian Bale, who plays Russell Baze, a Pennsylvania steel mill worker and the older brother of Rodney Baze (Casey Affleck), a troubled veteran of four tours in Iraq.

Credited to Brad Ingelsby and Cooper, the screenplay piles on plenty of complications.

Principal among these twists: Russell winds up in prison after a fatal car accident. He was drinking.

Meanwhile, Rodney pleads with a local bookmaker (Willem Dafoe) to arrange a big-money, bare-knuckle fight for him in New Jersey.

As it turns out, the Jersey bare-knuckle scene and a variety of other criminal activities are presided over by Harrelson's Harlan DeGroat, a character cast in the fires of unapologetic evil.

But wait ... there's more:
While he's in jail, Russell's former girlfriend Lena (Zoe Saldana) takes up with a new lover, a sheriff played by Forest Whitaker, who might just as well have found something else to do for all the impact the script allows his character to make.

We also meet Russell's uncle (Sam Shepard), a character who rounds out the cast of hard-working, salt-of-the-earth Pennsylvanians, guys who toed the line, drank their beer, prayed the rosary, asked for nothing and went deer hunting for recreation.

You can tell that a movie is going for high-voltage impact when Dafoe -- no stranger to tough-textured realism -- gives one of the film's more relaxed performances.

There's no reason to fault any of the acting, but Harrelson's frightening performance achieves stand-out prominence.

Harrelson's DeGroat makes his presence known in the movie's opening scene, a brutal encounter that takes place in a drive-in and which calls for DeGroat to ram a hotdog down his date's throat before mercilessly assaulting a good samaritan who tries to intervene in the poor woman's behalf. DeGroat's wearing shorts at the time, a sartorial choice that gives his violence an alarmingly informal air.

It's equally clear that Affleck's Rodney has veered out of control -- albeit in a completely different way. Rodney has no interest in working in a steel mill, has accumulated substantial gambling debts and simmers with rage over lost comrades and memories of war-time carnage.

Cooper and cinematographer Masanobu Takayanagi do their best to give the gritty Pennsylvania settings -- steel mills, bars, dreary row houses and abandoned factories -- the kind of polished decay that movies can bring to towns that have seen better days.

Bale's deep-immersion performance doesn't leave much on the table, but Out of the Furnace can't quite transcend revenge impulses that ultimately take over and cheapen a drama that seems to be trying for more.

And try it does. If it were possible to get a hernia from attempting something meaningful, everyone involved in Out of the Furnace would need abdominal surgery. In the end, though, I'm not sure that this isn't a case in which black-and-blue marks outnumber serious insights -- despite all the heavy lifting.

History served up in bold slices

It takes liberties with the real man's life, but Lee Daniels' The Butler works as a tumultuous summary of the Civil Rights era.

August isn't a bad month for critics to stop paying attention to movies. As we inch toward Labor Day, the releases tend to have the feel of filler. A look at the multiplex schedule makes you wonder whether Hollywood isn't marking time until the Oscar-bound big boys lumber into view.

All of this by way of saying that I've been traveling, and haven't seen my usual quota of movies, a situation that in late August can be seen as more reprieve than deprivation.

Was I bereft that I missed the preview screening of Kick-Ass 2? If so, it was only because airline re-routing had condemned my wife and her quick-to-grumble husband to an interminable day of schedule shuffling, plane delays and airborne discomfort.

Upon my return to Denver, I decided that there was only one movie I needed to see to fill in my otherwise empty dance card: Lee Daniels' The Butler, the story of Cecil Gaines, a black man who served as a butler in the White House from the time of President Eisenhower until the reign of Ronald -- a.k.a. the Great Communicator -- Reagan.

I should confess that I'm not much of a Daniels' fan. I didn't jump on the Precious (2009) bandwagon, and I found 2012's The Paperboy to be mired in excess bordering on hysteria, a wallowing and sweaty movie that, at one point, saw Nicole Kidman's character urinate on Zac Efron's character, one of the few times I hoped that special effects had indeed supplanted any attempt at realism.

I was much relieved to discover that The Butler -- though vividly realized -- represents a toned-down version of Daniels-style drama.

First, my problem:
Too many years in journalism have, I think, stunted my imagination. When I read about the divergence between fact and fiction in a movie that's depicting a slice of history, I tend to feel a bit deflated. Look, I know there can be a crucial difference between truth and fact, but too many years in newsrooms have made me partial to historical drama that limits distortion to mild flirtation.

To the point: Daniels and screenwriter Daniel Strong, who also wrote HBO's Game Change, have taken considerable liberties with their main character, played with admirable reserve by Forest Whitaker.

Gaines was inspired by the real-life story of a man named Eugene Allen, who worked for 34 years in the White House. In the movie, Gaines' oldest son (ably played by David Oyelowo)becomes contemptuous of his father's calling during the Civil Rights era.

Oyelowo's Louis is a convenient fictional creation, a young man who makes the transition from a hopeful freedom rider to a resolute member of the Black Panther party, an arc that describes the historical backdrop against which the story unfolds and which adds a dose of generational tension to the story.

During the movie, Gaines' wife, brilliantly played by Oprah Winfrey, has an affair with a neighbor (Terrence Howard), presumably because she's upset and lonely. Her duty-obsessed husband isn't around much. Evidently, the real butler's wife was loyal and devoted.

In the movie, the couple's youngest son (Elijah Kelley) dies in Vietnam. In real life, the Gaines' only son returned from Vietnam and went on to find employment in the State Department.

I've gotten all of this from an Aug. 16 article in Time; I repeat highlights of that story more to reveal my own bias than to debunk the movie, which -- in the broadest terms -- is successful.

And, yes, I understand the approach. Daniels uses Gaines' personal history as a point of expansion, a spine that allows him to tell a story that's bigger and more important than one man's life.

In taking this fictionalized look at a man who served in the White House, Daniels also charts the sweep of the Civil Rights movement, and he makes effective use of news footage that seems no less shocking now than it did during the heyday of a grassroots movement that changed the United States.

Moroever, only a couple of scenes -- an explosive argument at a dinner table and a pointless interlude involving Mrs. Gaines' dalliance with her neighbor -- push the movie into what looks like familiar, i.e., over-amped, Daniels' territory.

More often than not, though, the rough candor in Daniels' style serves the screenplay, which won't be mistaken for anyone's idea of a finesse job. Right from its start, The Butler makes bold points boldly, which may be precisely what the material demands.

Now, some side comments: It's amazing to me that a personality as identifiable as Winfrey was able to convince us that she's the whiskey tippling, sometimes resentful wife of a man who learned the butler's trade at an early age.

Young Gaines was brought into "the big house" by a racist Georgia woman (Vanessa Redgrave in a small role) who schooled Gaines in domestic servitude after her son raped the boy's mother and shot his father.

Many presidents appear during the course of the story, some effectively portrayed, some less so. Robin Williams plays Eisenhower, although he looks like a dead ringer for Harry Truman. James Marsden capture's JFK's voice, but looks too much like a frat boy to be entirely convincing. Alan Rickman makes a surprisingly good Reagan. Ditto for Liev Schreiber as the blunt Lyndon B. Johnson.

Whoever had the idea of casting John Cusack as Nixon probably thinks Silicon Valley is best known for its fine macrame. Perhaps Jane Fonda's inevitably ironic appearance as Nancy Reagan makes up for it.

So what the hell am I saying here? Yes, I felt a bit of a letdown when I began reading about the real White House butler who inspired the movie and whose life was first written about by Washington Post reporter Wil Haygood.

But watching The Butler is another story. Daniels evokes a strong feeling for the chaotic blend of horror and idealism that marked a period when some of the best people in the country were -- as Martin Luther King famously said -- trying to bend the moral arc of the universe toward a higher plane of justice.