FilmWonk Podcast – Episode #191 – “The Power of the Dog” (dir. Jane Campion), “Bruised” (dir. Halle Berry)

Poster for "The Power of the Dog"

This week, Glenn and Daniel welcome back Erika to check out the directorial debut of Halle Berry in Bruised, in which she stars as a disgraced MMA fighter trying to connect with her estranged son. And then we check out Jane Campion‘s gorgeous, but narratively unfocused adaptation on toxic masculinity in the early 20th century American West, The Power of the Dog, which provoked a wide range of reactions on the podcast. Both films are now available on Netflix. (01:24:17).

Still from "Bruised" (2021 film)

*CW: This episode contains mentions of suicide, alcoholism, familial and intimate partner violence, and rape, as pertains to the subject matter of each film.
May contain NSFW language.

FilmWonk rating (Bruised): 5/10 (Erika), 6/10 (Daniel), 7/10 (Glenn)
FilmWonk rating (The Power of the Dog): 3/10 (Daniel), 5/10 (Glenn), 9/10 (Erika)

Show notes:

  • [02:01] Review: Bruised
  • [26:34] Spoilers: Bruised
  • [39:58] Review: The Power of the Dog
  • [55:46] Spoilers: The Power of the Dog
  • There was a minor technical issue with the remote recording, and it is occasionally possible to hear a brief echo – we edited this out as much as possible, and we do apologize for the disruption.
  • CORRECTION: Jane Campion was not the first woman to be nominated for the Academy Award for Best Director – she was second (for The Piano, for which she would win the award for Best Original Screenplay). The first woman to be nominated for Best Director was Lina Wertmüller for the 1976 Italian film, Seven Beauties.
  • Erika plugged the 1989 TV miniseries Lonesome Dove, starring Robert Duvall and Tommy Lee Jones, which is streaming on StarzPlay as well as for rent on multiple platforms.

Listen above, or download: Bruised, The Power of the Dog (right-click, save as, or click/tap to play)

FilmWonk Podcast – Episode #181 – “Moxie” (dir. Amy Poehler), “The Courier” (dir. Dominic Cooke)

Poster for "The Courier"

This week, Glenn and Daniel venture back to a bygone era that justifies itself with a touching depiction of friendship amid international espionage, with The Courier, starring Benedict Cumberbatch and Mirab Ninidze in a film based on historical events by Dominic Cooke, now out in theaters, and coming soon to Premium VOD platforms. But first, they check out director Amy Poehler‘s 90s-tinged YA adaptation, Moxie, now streaming on Netflix (01:12:17).

Still from "Moxie"

May contain NSFW language.

FilmWonk rating (Moxie): 5 out of 10
FilmWonk rating (The Courier): 7.5 out of 10

Show notes:

  • [02:21] Review: Moxie
  • [34:18] Review: The Courier
  • [46:06] Spoilers: The Courier
  • See Sheila O’Malley‘s review of Moxie on, to which we owe our sincere thanks for giving a name to the riot grrrl genre, a phenomenon we’ve been peripherally aware of since 10 Things I Hate About You and the zines we personally read in our 1990s Seattle high schools, but didn’t know the proper name for until now.
  • In our discussion of The Courier, we referred to actress Natalie Walker‘s excellent series of satirical audition videos on Twitter, including this one, an apparent send-up of the thankless role played by Claire Foy in First Man. We were rather pleased that Jessie Buckley had a bit more to do in this film than the typical put-upon, do-nothing wife character of a history-making fellow.

Listen above, or download: Moxie, The Courier (right-click, save as, or click/tap to play)

FilmWonk Podcast – Episode #167 – “Bad Education” (dir. Cory Finley), “Gunpowder Heart” (dir. Camila Urrutia), “NT Live: Frankenstein” (dir. Danny Boyle)

Poster for "Bad Education"

[CW: This episode contains discussion of sexual violence.]

On this week’s podcast, Glenn and Daniel (with special guest Erika Spoden) are a bit more playful than usual. That’s to say, we’re reviewing a play – specifically, the National Theatre of Great Britain’s 2011 performance of Frankenstein, adapted for the stage by Nick Dear, and directed by Danny Boyle, as recently made available on YouTube for free (you can donate to NT here!), and starring Benedict Cumberbatch as the Creature (as there were two cast versions available!). Then we venture down to Guatemala for a revenge thriller from the SXSW collection on Amazon Prime, Gunpowder Heart from director Camila Urrutia. And finally, we check out a new tale of small-town corruption from HBO Films, Bad Education (01:33:30).

Poster for "National Theatre At Home: Frankenstein"

May contain NSFW language.

FilmWonk rating (NT: Frankenstein): 8/10 (Glenn, Daniel), 9/10 (Erika)
FilmWonk rating (Gunpowder Heart): 6.5/10 (Daniel), 7/10 (Glenn, Erika)
FilmWonk rating (Bad Education): 8.5/10 (Glenn, Erika), 8/10 (Daniel)

Show notes:

  • [00:00:30] Review: National Theatre Live presents: Frankenstein
  • [00:24:06] Review: Gunpowder Heart
  • [00:37:44] Spoilers: Gunpowder Heart
  • [00:54:19] Review: Bad Education
  • [01:11:58] Spoilers: Bad Education
  • Music for this episode was working in the lab, late one night.
  • Check out Lisa Liebman‘s article in Vulture about the real people behind then story of Bad Education.

Listen above, or download: NT Live: Frankenstein, Gunpowder Heart, Bad Education (right-click, save as, or click/tap to play)

FilmWonk Podcast – Episode #159 – “1917” (dir. Sam Mendes), “Marriage Story” (dir. Noah Baumbach)

On this week’s podcast, Glenn and Daniel return to the Western Front with Sam Mendes‘ groundbreaking, single-shot World War I drama, 1917. And then we check out a war of a different sort with Noah Baumbach’s artful confessional about divorce, Marriage Story, now streaming on Netflix (01:22:39).

Still from "Marriage Story"

May contain NSFW language.

FilmWonk rating (1917): 7/10 (Daniel), 8/10 (Glenn)
FilmWonk rating (Marriage Story): 8 out of 10

Show notes:

  • [02:04] Review: 1917
  • [21:06] Spoilers: 1917
  • [36:11] Review: Marriage Story
  • Music for this episode is a pair of tracks from the 1944 Burl Ives 78 RPM record (as digitized on the Internet Archive), The Wayfaring Stranger. The tracks are titled The Wayfaring Stranger and The Bold Soldier
  • CORRECTION: In our example of the scale of warfare prior to World War I, we greatly overstated the number of casualties at the Battle of Antietam in the American Civil War – historians place the total at 22,717 dead, missing, or wounded (source). 
  • We made frequent reference to Dan Carlin‘s World War I historical podcast, Blueprint for Armageddon. Highly recommended work from a master historical storyteller.

Listen above, or download: 1917, Marriage Story (right-click, save as, or click/tap to play on a non-flash browser)

FilmWonk Podcast – Episode #93 – “Doctor Strange” (dir. Scott Derrickson)

Poster of "Doctor Strange"

In this week’s podcast, Glenn and Daniel return to the Marvel Cinematic Universe, which veers further into monsters and magic than ever before. We weigh in on wizard battles, the whitewashing controversy, and the film’s surprising appeal in 3D (38:29).

May contain NSFW language.

FilmWonk rating: 8 out of 10

Show notes:

  • Music for this episode is the track “Sanctimonious Sanctum Sacking” from the film’s score by Michael Giacchino.
  • I stand by my comment that this film feels like it was made for 3D, but like all Marvel Studios films, it was shot in 2D and upconverted. Nonetheless, we still recommend seeing this one in 3D. It is far and away one of the best upconversions we’ve seen since the 2012 re-release of James Cameron‘s Titanic.
  • You can read the complete interview with Scott Derrickson by Jen Yamato from The Daily Beast here.
  • Hear our extended thoughts on Mads Mikkelsen here.
  • The ruler of the Dark Dimension is actually named Dormammu (we mispronounced it several ways), and it was voiced (and mo-capped) by Cumberbatch himself!

Listen above, or download: Doctor Strange (right-click, save as, or click/tap to play on a non-flash browser)

Steven Spielberg’s “War Horse” – Beasts, battle, and the perplexing notion of nobility

The relationship between man and horse has always been a complicated one. It’s simple to find inspiration in a story of humans and pets, since pets are generally treated well and have little expected but love in return. Horses, like all other beasts of burden, are the subject of greater expectations, and highly variable levels of respect. Cards on the table: I don’t find horse-racing films inspiring in the slightest. On the surface, it’s basically the same as watching NASCAR – full of souped-up, highly disposal means of transportation, barely deserving of the moniker of “sport”. The only noticeable difference is that these speedy conveyances are capable of feeling pain, making the activity that much more appalling. But beasts of burden have their place, to be sure, and there may be inspiration to be found in their stories, provided they’re enriching our lives in some meaningful way (gamblers, alcoholics, and gluemakers notwithstanding).

War is an equally mixed bag for storytelling, particularly World War I. It was known ever so briefly as “the war to end all wars”, and was a study in contradictions – an absurd mix of both ancient and groundbreaking mechanisms of battle. This war featured swords, cannons, trench and chemical warfare, tanks, metallic armor, and yes – even horses. War Horse effectively broaches the question of whether a horse is capable of demonstrating valor or loyalty, and regardless of the answer to this question, we do see a great many horses lying broken and discarded on the battlefield. This exploration of the First World War is certainly the most interesting part of this film, and simultaneously the most muddled.

This film plays like a fairy tale, with a soft glow blanketing the characters’ initial idyllic existence. Albert (Jeremy Irvine) is a farmboy in Devon, England, whose father wrecklessly splurges on a thoroughbred horse to plow his field. The horse, Joey, may well be a gorgeous specimen, but he’s not big, ugly, or strong enough for the farm work to be set before him. As Albert desperately tries to train Joey to work the plow, his landlord (David Thewlis) twirls his mustache and delivers an absurd (but well-spoken) monologue about Albert’s almost certain failure. This tale of boy and horse is entertaining, to be sure, and demonstrates the horse’s personality to an impressive degree. Even as we learn that these two will soon be torn from each other by the impending war, this sequence masterfully sets up their affection for one another, with Spielberg somehow wrangling as convincing a performance from the animal as from Irvine himself.

But from this point on, the film is basically just a series of vignettes, and actually becomes rather confusing. A staggering number of minor characters are introduced, each with a slightly different flavor of randomly accented English-language dialogue. Unless you happen to be an expert in WWI military insignia, it’s difficult to tell where Joey is, where he’s going, or how likely Albert is to find him. While this certainly causes the film to lose momentum, it somehow makes Joey’s story even more tragic, placing the audience in the same confused position he’s in. Horses may well be capable of loyalty, but this horse has very little choice in where he goes or what he does. While horses aren’t capable of understanding the full scope and consequence of their actions in warfare, this film certainly demonstrates their capacity to be swept up as either victims or reluctant participants.

Most of the human cast – whom I would struggle to call anything more than supporting players – are effective. As Joey strikes out on his journey, the film intently focuses on each of the lives he touches along the way. Benedict Cumberbatch and Tom Hiddleston both give strong turns as military officers. Newcomer Celine Buckens gives perhaps the worst accent performance in the film as a young [French?] farm girl who briefly and affectionately takes possession of Joey when he wanders onto her family farm. The story of the girl and her father had the potential to be quite poignant, but it is undercut by Buckens’ uneven performance and some rather irritating dialogue.

The film’s climactic scene, which I won’t spoil here, continues Spielberg’s tradition (begun in Saving Private Ryan) of depicting both sides of a historical war as potentially sympathetic. In their own way, each side recognizes Joey’s innocence and unwilling participation in this conflict, and seem determined to spare him any further harm. Over the course of this film, we see war horses treated as brutally as any other materiel, but it is in this final moment that the film hammers home the point that they’re a category unto themselves. I’m not sure if “inspiring” would be the right word for this message – the contribution of Joey and warhorses like him was meaningful, but it came on the eve of their obsolescence as a tool of human warfare. If Joey had been born a mere decade later, he could have lived out his life happily in peace. Then again, the same could be said for Albert and the young men who fight and die beside him. Like all war films, War Horse is a tragic tale at heart – but the friendship, valor, and loyalty demonstrated here is no less meaningful for it. War may well be a natural human condition, and as such it affects those beasts we hold most dear just as surely as it affects us all. To turn a historical eye to their contributions and sacrifices, whether or not they can truly be considered noble, does not go amiss.

FilmWonk rating: 6 out of 10