Adann Alexxander Movie Review: “Golda” worth viewing

Published 1:41 pm Tuesday, September 5, 2023

“Golda” (Biographical Drama/History: 1 hour, 40 minutes)

Starring: Helen Mirren, Camille Cottin and Liev Schreiber

Director: Guy Nattiv

Rated: PG-13 (Thematic elements and pervasive smoking)

Movie Review:

Helen Mirren talentedly becomes Golda Meir, Israel’s Iron Lady. Mirren makes the best of her role, strikingly regal as always when playing a world leader. She is good here until Director Guy Nattiv (“Skin” 2018 short movie) and his team’s decision to insert actual footage of the actual Golda Meir. Her comical wit and grandmotherly charm easily indicate why she was the fourth Prime Minister of Israel, the country’s first only female head of government. She was also the first for the Middle East and the fourth woman head of government in the modern world. Archival footage of Meir upstages Mirren’s superb performance of the leader.

Golda Meir (Mirren) manages to lead Israel while undergoing treatment for lymphoma. In 1973, she leads her country during the Yom Kippur War. Meir uses high profile diplomatic meetings while leading her country in a War that caught Israel off guard.

Mirren makes the movie. She is still striking under heavy prosthetics make-up. Each time she enters a room, one feels she is charge, even when the male-dominated military politicians around do not stand for her. Mirren engaging plays Meir, who spent the greater part of youth in the United States. Mirren plays world leaders well, something she has become an aficionado playing. The notables are “The Queen”

(2006), television’s “Elizabeth I” (2005) and “Catherine the Great” (2019), and the play “The Audience” (2013).

Mirren makes Meir intriguing. As noted before, Meir as seen in the archival footage had a natural happy appeal. The observation of the Meir in the clips makes her seem worthy of a more in-depth documentary. Mirren gets upstaged by the very woman she portrays.

Like any political leader, Meir is controversial to some. This movie shows her as leader during a time of war, and she was the first prime minister to get one of Islamic states around Israel to recognize the country’s right as a country. Writer Nicholas Martin, the scripter for “Florence Foster Jenkins” (2016), makes “Golda,” his second screenplay, a method to clear Meir for the government’s lapse by being surprised by Yom Kippur War. Martin writing casts the error as a top official’s lack judgement to sound the alarm for war.

“Golda” raises the interest in Meir’s life. This movie makes her more interesting than history reports. Meir appears ready made for documentary. The historical leader outshines Mirren in just a few clips.

Not to understated, Mirren is dynamic in this role. Guy Nattiv just allows her to get lost in the cigarette smoke seen in almost every scene and by the archival footage by Meir. Still, the bio-war drama is worthy of a peek.

Grade: B (Golda shines.)

“Passages” (Drama: 1 hour, 31 minutes)

Starring: Franz Rogowski, Ben Whishaw and Adèle Exarchopoulos

Director: Ira Sachs

Rated: Unrated (Sexual content, nudity, thematic elements and language)

Movie Review:

“Love is Strange” director Ira Sachs directs another movie about love. “Passages” is a relationship drama in a way only the French and Germans could deliver. The movie is about a love triangle in Paris. It is thought-provoking material, in that captures love in 2020’s, boldly exploring bisexual, gay and straight characters.

Tomas (Rogowski) and Martin (Whishaw) are husbands. Their relationship is fine until Tomas has an affair with Agathe (Exarchopoulos), a young woman he meets at a party. Matters become worse when Agathe becomes pregnant. Meanwhile, Tomas goes back-and-forth, wrestling with his feelings for both Agathe and Martin.

“Passages” is a very sexual movie, but producers wanted to make sure the audience saw these characters’ sexual as part of their problem. Franz Rogowski plays another gay character like he did in “Great Freedom” (2021), a formidable gay prison drama set in post-World War II Germany.

In “Passages,” Rogowski’s character is in love with two people. He appreciates them both physically, albeit sexually more it seems, and mentally. That is the problem he falls for them both and wants them both. He manipulates them both.

Meanwhile, Ben Whishaw and Adèle Exarchopoulos their parts nicely. They both must play characters who Tomas and forced to share him. Whishaw and Exarchopoulos best scene is when they to meet at a restaurant to discuss matters concerning Tomas and other issues. They both in love with the same man but handling their relationship in the European adult behavior. They do not fight nor curse each other. They simply have a conversation that changes their lives.

As meaningful as this movie is, “Passages” spends time on the lengthy sex scenes. One waits for other interactions, yet it is the sex that drives these characters. Their physical relationships are beneficial insights to the totality of their relationships. Their physical interactions offer some in-depth, dramatic insight into the mind of love and physical attraction.

By the end, one forgets about the sex, and you focus on the characters and how they feel. Tomas’ fake façade materializes, and Martin and Agathe finally epiphany about their relationship and the lies told to them. The end is powerful enough to leave audiences pondering what is next for these people.

Grade: B (The passage of time moves pleasantly for this movie’s runtime.)

“Birth/Rebirth” (Horror: 1 hour, 39 minutes)

Starring: Judy Reyes, Marin Ireland, A. J. Lister

Director: Laura Moss

Rated: R (Disturbing material and gore, violence, some sexual content, language and nudity)

Movie Review:

“Birth/Rebirth” is a gratifying classic horror movie. It does not have the cheap scares with something, jumping out of the dark that causes fright. Instead, it is a relaxed, tightly focused drama involving a dedicated parent and a brilliant doctor. One dedicated to her child, and the other dedicated to her medical science.

Lila (Lister) is the six-year-old daughter of Celie Morales (Reyes), a single mother and maternity nurse. Lila falls ill from an aggressive meningitis infection and dies. Celie arrives at the morgue only to have medical personnel inform her they have lost her daughter’s body. In a frantic search, she follows Dr. Rose Casper (Ireland), a pathology doctor, into her home. There, she discovers her daughter to be living, thanks to some experimental science by the doctor.

“Birth/Rebirth” is psychological horror film similar to Mary Shelley’s “Frankenstein.” A little girl returns to life and the two women overseeing her care but do anything to keep her living. The two as offered by this narrative provide a tangible justification for their actions.

Marin Ireland (“The Boogeyman,” 2023) plays a pathology doctor in an eerie manner. She looks as if she is strung-out on some drugs and her peculiar behavior scary. Her appearance and her actions all signal this lady cannot be trusted. However, the actress plays the part well and contributes the most to the horror elements of this photoplay. Ireland plays a scientist with zeal.

The Dominican Reyes once played a nurse on the television comedy “Scrubs.” Reyes is the perfect grieving mother here. She is also an excellent protective mother. Reyes plays a mother willing to do what she can to keep her daughter living.

Ireland and Judy Reyes, play their roles well, especially when their characters are together. The actresses appear everyday people. This is a big part of why this movie works well with its anxiety-causing presentation.

If you are looking for a dramatic horror movie that provides much with a low energy appeal, “Birth/Rebirth” is the horror for you. Director Laura Moss (short movie “Fry Day,” 2017), debuting her first full-length feature, and her co-writer Brendan J. O’Brien’s script does not provide cheap scares. They present a sense of creepiness that is consistent throughout the movie, even when the characters should just do the right thing.

Grade: B+ (Life multiplied by two.)

“Oldboy” (Action/Drama/Mystery: 2 hours, 00 minutes)

Starring: Choi Min-sik, Yoo Ji-tae and Kang Hye-jeong

Director: Park Chan-wook

Rated: R (strong violence including scenes of torture, sexuality and pervasive language)

Movie Review:

Park Chan-Wook’s “Oldboy” is the ultimate revenge tale. This remastered rerelease marks the twentieth anniversary. This 2003 South Korean neo-noir action, mystery thriller appears brand new, as if made this year. It is still solid film making that remains an attention-getter, despite its peculiar plot.

The movie follows obnoxious drunkard Dae-su Oh, played by Choi Min-sik. Some rogue organization held Dae-su captive for 15 years. After he escapes, he receives several phone calls with hypnotic suggestions that cause him to search for his captor. In a restaurant Dae-su meets a young woman, Mi-do (Kang). Dae-Su and Mi-do become lovers. They do not realize they have a connection.

Park Chan-wook gave audiences “The Handmaiden” (2016). “Oldboy” a slightly different crime movie that acts as a modern noir mystery. It is an intellectual revenge movie that is very violent and sexual. Park provides characters that seem like they are right out of a Bruce Lee movie of yesteryear, but “Oldboy” is more dramatic in acting styles.

The cast is engaging. This includes leading and supporting cast members. Choi Min-sik is mesmerizing. He holds one’s attention, even in the grittiest of moments. Kang Hye-jeong plays Mi-do with a feisty spirit. Finally, Yoo Ji-tae plays the ultimate villain Woo-jin Lee well. He is antagonist with the most hideous scheme, and Yoo appears to relish in characters actions.

“Oldboy” contains many visual incidences that may turn away some. Dae-su eats a live octopus. You can still see the tentacles moving. This is a common meal in parts of the eastern world, eating seafood alive. Numerous scenes also contain lengthy strong, bloody violent scenes.

Once all that settles, this may be best definitive revenge movie ever made, despite some off-putting and gratuitous scenes. Audiences will be shocked or happy they stayed with this movie until the end. “Oldboy’s” apex is its pivotal denouement, captivating scenes merge character actions with the with those people’s intent. The result is an attention-getting finale that leaves one impressively stunned.

Grade: B+ (“Oldboy” still is a fresh narrative.)

“Retribution” (Mystery/Thriller: 1 hour, 30 minutes)

Starring: Liam Neeson -Matt Turner, Noma Dumezweni, Lilly Aspell, Jack Champion

Director: Nimród Antal

Rated: R (Language and violence)

Movie Review:

Liam Neeson returns as a man trying to save his family. “Retribution” appears like Neeson’s other movies. It cleverly creates a plot, worth following, but that cleverness does not extend to getting out of the crisis exhibited. Instead, audiences are given an average execution.

Matt Turner (Newsom) is a father of two. He spends much of his time working, but on this morning, he decides to take his teenage son Zach (Champion) and his young daughter Emily (Turner) to school. After they begin their trek to both the children’s schools, Matt receives a phone call that instructs him that there bomb up under the seats. If anyone attempts to get out of the car, the mysterious voice on the phone indicates he would detonate the explosives. Matt must do everything the voice tells him or risk his and his children’s lives.

This movie’s runtime almost runs on real world time. Neeson is always good in these types of movies. The problem is he plays them far too often. All his movies are beginning to look very much alike. This one is similar except it involves two kids rather than one missing child.

Directed by Nimród Antal (“Control,” 2003), this movie is attention getting, but it does not end with the enthusiasm it begins with compared to its start. Creation of a plot is easy. A clever conclusion is the tricky part. The conclusion should be as intelligent as how a movie starts. This is not the case for “Retribution” will belittles itself with a mundane conclusion.