REVIEW: The Hollars

23 08 2016

The HollarsSundance Film Festival

With a tender blend of comedy and drama, solid work from a big ensemble cast comprised of some surprising players as well as an acoustic-heavy soundtrack, John Krasinski’s “The Hollars” more or less epitomizes the kind of film that put Sundance on the map. And yet precisely because Krasinski earnestly embraces just about every indie cliché, the film manages to move and delight.

Sure, we could probably do without Krasinski’s John Hollar, another struggling artist (a graphic novelist) who fumbles when it comes to commitment. But he’s worth taking a journey with since Krasinski endows him with the kind of idealized everyman charisma that he perfected in 9 years behind a desk in “The Office.” John does not hesitate to break down as his world collapses around him, and Krasinski is there with vulnerability and empathy.

Yes, we likely do not need another dying mother like Margo Martindale’s Sally Hollar, whose sudden brain tumor discovery brings John home from New York. A few minutes into her spewing Southern fried wisdom, however, and you hope she never stops. Sally knows exactly what to say to people while also possessing the uncommon gift of knowing when people need to hear her sharp observations. She’s the glue holding together the lives of her husband and two sons, and Martindale approaches her character’s dawning acceptance of the the inevitable with a truly moving grace.

Fine, we might not need the vast array of supporting turns. Anna Kendrick is delightful, per usual, as John’s newly pregnant girlfriend Rebecca, although the script gives her little to do besides constant worrying and supporting about her boyfriend. Charlie Day provides nice comic relief as a jealous ex-high school rival of John; the fast-talking pipsqueak routine is very in line with his persona, though. Richard Jenkins turns in another excellent performance as an emotionally distraught patriarch. (The only real surprise of “The Hollars” is Sharlto Copley, in his first non-effects driven film, as John’s unexplainably neurotic brother Ron.)

Complain all you want about this movie existing. Point out all the boxes it checks. But “The Hollars” is here whether you like it or not, and Krasinski welcomes all with a wide embrace and an open heart. Be it your first or umpteenth indie family dramedy, the genuineness of the film can be disarming for those willing to let their guard down and just fall for its charms. B2halfstars

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REVIEW: August: Osage County

22 01 2014

August OsageI’m a firm believer that there are some source texts that are absolutely impossible to botch, provided they keep the main narrative intact.  Tracy Letts’ play “August: Osage County” belongs in such a category.

Many in the theatrical community already assert that it will be in the American dramatic canon along with works by Arthur Miller, Tennessee Williams, and Tony Kushner.  Letts provides some of the most gripping familial tensions I’ve ever read, and it’s chock full of meaty characters in an ensemble for the ages.

John Wells’ film adaptation of “August: Osage County” brings that story to a larger audience than likely could ever be reached on one stage.  Moreover, the cast he assembles is like the kind of “one night only” extravaganza that fans can only dream about.  I’ve never seen the show live, so I can’t really speak to its theatrical power.

Letts’ words did, however, jump off the page and paint such a vivid picture in my mind that I feel as if I did.  While the film does a decent job translating the action to the realm of cinema, there still feels like a bit of raw intensity evaporated in the transfer.

That’s not to say, though, that Wells doesn’t effectively harness the power of the screen to bring a different dimension to Letts’ opus of intergenerational discord.  On a stage, you can’t key off the subtleties in an actor’s facial movements, which is one of his most clever editing tricks in “August: Osage County.”  Some theorists have labeled film a fascist form because it has the power to direct your attention towards only what it considers relevant, but the way Wells chooses to organize these massive scenes is actually quite freeing.  It ensures we do not miss crucial reactions that serve to define the arcs of the characters.

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