Quick Thoughts, End of 2019: The Two Popes, Marriage Story, 1917

So the winter of 2019/2020 has kind of gotten away from me a bit, and as a result I didn't have the chance to write full reviews of some of the most talked about films of the year. However, I wanted to take a quick moment and give you my brief thoughts on three of them. Enjoy! 

The Two Popes

Why Does This Exist?

The Two Popes (2019): Behind Vatican walls, the conservative Pope Benedict XVI and the liberal future Pope Francis must find common ground to forge a new path for the Catholic Church.

Ok, before I really dive into this one, I should preface with this: I am not one to talk about the Catholic Church. I have come to loathe the institution over the years, mostly because of its hubris and gross malpractice around the handling of the millions of sexual assault claims levied at priests over the last two decades, so a story about an uber conservative pope handing the reins of the church over to a slightly less conservative pope won't particularly interest me. That said.... if you're not a diehard Catholic, there is very little here to keep you engrossed. This entire film feels rushed and unkempt, particularly with its over-the-top handcam (this feels like your dad holding a 90s camcorder for most of the film) and uncomfortable close close-ups. This film is supposed to highlight the acting prowess of Anthony Hopkins and Jonathan Pryce, but I couldn't stop marveling at how bad this film looked. Which is kind of amazing to do since most of this film is those two titans of the acting world. Also, we get an origin story on Jorge Bergoglio (the "liberal" Pope Francis) which..... eh. Again, not sure why this is here. If you're a devote member of the Catholic Church, you're probably screaming at your computer screen right now, but everyone else? There's nothing for you here.

My Number: 4/10 

The Two Popes is available to stream on Netflix.

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Marriage Story

Genuine Heartbreak Manifested

Marriage Story (2019): Noah Baumbach's incisive and compassionate look at a marriage breaking up and a family staying together.

​The latest story from Noah Baumbach was a touching, semi-autobiographical, emotionally powerful look at divorce and the messiness of attempting to untangle yourself from someone you've shared several years of your life with. (And a child.) I loved every second of it. It's relatable, palpable, and an emotional rollercoaster that made me ugly cry on several occasions. The acting is amazing, (easily the best performance of ScarJo's career, and Adam Driver is pretty dang great, too) the dialogue is sharp and witty, and this is simply a perfect film. From its simplistic set design to its touching score, to the overall quiet nature of the film, Baumbach delivers a masterful display of minimalist storytelling to maximize the emotional impact. And maximized, it is, as this is one of the most emotionally charged journeys 2019 had to offer. 

My Number: 10/10

Marriage Story is available to stream on Netflix.

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1917

Technical Mastery, but Little Else

1917 (2019): ​April 6th, 1917. As a regiment assembles to wage war deep in enemy territory, two soldiers are assigned to race against time and deliver a message that will stop 1,600 men from walking straight into a deadly trap.

This film is pretty simple. It's a technical behemoth, a masterclass of camera skills from cinematographer Roger Deakins, and one of the most ambitious undertakings in cinematic history in this regard. The tentpole sequences of this film are nothing short of breathtaking, led by a STUNNING nighttime sequence that used flares for temporary, moving, lighting pieces. The final gargantuan sequence, the battle charge, was mesmeric and pulse-pounding, exactly what boundary-breaking cinema should look like. However.... what was that story? The script surrounding the technical achievements makes Gravity look like a masterpiece, as it tries (and fails) to integrate several very real wartime themes into its 120 minute runtime. This film has as much deeper meaning as a McDonald's hamburger, and is just as thin, too. The dialogue some of these iconic actors are forced to utter is straight cringe-worthy, from Mark Strong's "Some men just want the fight" line to Benedict Cumberbatch's "Last man standing" line. And you want to see a thesis on what bad chemistry between two leads looks like? Look no further than Dean-Charles Chapman and George MacKay. I like both of them as people, but.... man. Their one-on-one sequences were boring and slowed the entire film down. In short, watch this marvel in a theater to appreciate Roger Deakins incredible work, but do not search it out anywhere else. You will be bored AF watching this on a TV screen.

My Number: 7/10

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Image Credits

https://m.media-amazon.com/images/M/MV5BYTQ1NjRmNzYtODZiNy00MmZhLTlmOTItMWQwOWM1ZWRiOGVjXkEyXkFqcGdeQXVyMTkxNjUyNQ@@._V1_.jpg (The Two Popes)
​https://m.media-amazon.com/images/M/MV5BOWIzMzU3YzAtNWNkZC00MGJkLWI1NjMtZDVjOTIxZDNjODlkXkEyXkFqcGdeQXVyMTAyMjQ3NzQ1._V1_.jpg (Marriage Story)
https://m.media-amazon.com/images/M/MV5BY2ZhMjI5MWEtOTVkYi00MjU1LWExOTgtYzIzZWY1YzQyZDM0XkEyXkFqcGdeQXVyNjg2NjQwMDQ@._V1_SY1000_CR0,0,1500,1000_AL_.jpg (1917)