The Peanut Butter Falcon

Spoiler-free!

In the movie to most thoroughly warm your heart this year, Zak (Zack Gottsagen), a young man with Downs Syndrome, runs away from the rest home where he restlessly stays with all the old people, and bumps into Tyler (Shia LaBeouf) a borderline vagabond who's struggling to hold his life together in the rural Outer Banks of North Carolina. They form an unlikely team and go on the lam together, evading vengeful fishermen, and a pretty caregiver, Eleanor (Dakota Johnson). Their destination? Friendship, adventure, and a wrestling school, where Zak plans to meet his hero and fulfill his dream of becoming a wrestler.

Written and directed by Tyler Nilson and Michael Schwartz.

I feel like there's not much more I could say to tempt you if the premise doesn't already have you sold. You look at the characters there, and the situation they're put in, and the rest of the appeal of the film just falls into place. Unexpected bonds, high adventure in the American South, danger and fun laid out side-by-side; it's relaxed and easy-going like all true Southern films should be, but cares deeply about the characters and their journeys. All that it promises with perfect clarity through the set-up, and it delivers on every promise with an impassioned sense of duty. Oh, and did I mention romance? I thought romance was dead in film; not in The Peanut Butter Falcon!

There were two things I was sorely missing in 2019's line-up of new releases, and this movie filled both those holes in one go: Adventure, and romance. On the adventure side, it goes just about as far as it can without getting into a fantasy sub-genre. It has that otherworldly feel of the rural south (and I say that as someone who lives amid it) that it sinks deep into like a muddy river, and that world does the work of suspending your disbelief for you. It's true adventure -- with quests and perils, beautiful scenery and lots of walking. On that note the cinematography was lovely; there's a certain style that perfectly captures the laid-back feel of southern living, like in Jeff Nichols' Mud, and this one has it.

Even without the entertaining plot and neat, thoughtful characters, this movie is lovely to watch.

Then on the romance, it's weird to me how in general movies have lost touch with romance, especially if it's a side plot. It's somehow become annoyingly clinical, like filmmakers are afraid of having two characters gaze at each other and show the audience the moments that make the characters fall in love. I don't mind that filmmakers and trying new approaches to romance (for example this year, I appreciated the focus on friendship over romantic feelings in Five Feet Apart). Often I feel that films are holding back though, and even though this movie's romance is on the side, it wastes no time to get to it, or opportunity to develop it and make it sweet and appealing and everything romance should be.

The writers/directors are new to feature films and you can see the care of this first project in the craftsmanship. The movie remembers to pay off everything it sets up and ends every bit as well as it began, not losing steam or interest as productions with less passion behind them are wont to do. But it also is remarkably sure of itself, for the artists being new to the game. They have a great understanding of what makes films entertaining, pacing, and how to convey real meaning through the craft. The film feels personal. Apparently they made it for their friend Zack, so he could have an opportunity to dig into acting on a large stage, and that focus an intent comes through. That's what makes it appealing to audiences who don't know them or Zack from Adam.

Supporting cast includes Jon Bernthal (with less than 5 mins of screen time as usual haha) Thomas Haden Church and Bruce Dern!

I'm sure they worked hard at it, but they must have also gotten lucky, because the cast line-up is perfect, and not just because they nabbed big name stars like Shia and Dakota. They're big, and good actors, yes, but most importantly they fill out their roles beautifully. I hope Shia LeBeouf is back to stay because he's hit a new stride of acting that suits him; never more naturalistic or subtle or universally appealing as this troubled hero teetering on the edge of destruction. He's dark but not weighty. And Dakota Johnson has a soft strength to her that is impossible to mimic and ideal for this character. The more I see of her the more I love her. Zack is a perfect embodiment of this film's heart, and the three of them have grin-inducing chemistry together.

Some movies have magical timing, and this is one. It could have taken so many paths that would've led to an element not coming through properly, but instead everything fell together like clockwork, and I think the result is the best possible outcome; an immensely satisfying feeling. It certainly had perfect timing for me, swooping in, you might say, like a falcon, to save me from the frustration of films that fall short or miss opportunities to dig into the elements of stories that I want to see. I love that The Peanut Butter Falcon wasn't made for me, but because it was made for someone else, I get to see and love it as if it was.

Upcoming Movie Roundup - August

July was downright boring. I saw Spider-Man: Far From Home. And that's it. And it was fine. And that's it. (Read my review here.) And I got really bored and frustrated of this year's movie selection and am on the verge of going to see Once Upon a Time in Hollywood even though I don't care for Tarantino movies typically.

But August. August looks good. August looks like it might begin turning 2019 around. It's going to need more than one solid hit with me in order to do that in the span of 31 days, and that it just... might... have. (Or maybe it's just wishful thinking and some super solid trailers.) Now let's see if I'll even go see more than one in the span of 31 days!

What looks good to you this month? Did I leave anything out?




Fast & Furious Presents: Hobbs & Shaw
In theaters August 2nd; PG-13
Is that really its title? Why can't it just be Hobbs & Shaw?? Someday I'll be in the mood for dumb, ridiculous, over-the-top buddy-cop action. And when that day comes I'm sure this will be just the ticket. But I've never been much for the F&F franchise and even within that neither Hobbs nor Shaw ever had much impact as characters. When I do see this, I will be most excited to see Vanessa Kirby. Then Idris Elba. And THEN The Rock and Jason Statham.




Scary Stories to Tell in the Dark
In theaters August 9th; PG-13
Goosebumps for kids grown up? It is based on a series of books after all, which inspires confidence that it could be more than a throwaway creepy summer flick, but it is also compiling all the stories into one film it seems? Which could cheapen it. This is one I probably won't be watching unless it gets great reviews.




The Peanut Butter Falcon
Limited release on August 9th; PG-13
Shia LaBeouf goes on a road-trip to help a runaway with Downs become a wrestler. With Dakota Johnson. Yep. This could easily turn into one of my favorite movies of the year if it plays its cards right -- like it seems to be. The feeling I get watching that trailer is the same the trailer for The Way Way Back gave me, and that's one of my all-time favorite films. It looks so pure and sweet and full of adventure and to be about uplifting things like love and friendship -- how could it not be appealing?




Blinded by the Light
In theaters August 14th; PG-13
Continuing the trend of apparently pure films with uplifting messages comes this movies about a Pakistani-British teen who falls in love with the music of Bruce Springsteen in 1987. I LOVE this trailer, and what the movies seems to be saying about the universality of music (and within that, art in general and the way it can connect beyond culture lines) -- especially great American rock from the 80s, haha! I hope it's sappy and wears its heart on its sleeve. The sappier the better.




Where'd You Go, Bernadette
In theaters August 16th; PG-13
Richard Linklater's latest is based on a novel, and stars Cate Blanchett. It has all the earmarks of something that should be good, but I'm stuck. I can't get over the hurdle of "Cate Blanchett Plays a Normal Person." Don't get me wrong she's one of my favorite actresses. It's just hard for me to buy her as an every-woman, even done up with plain clothes and hair -- she's still exceptional. It's weird. I'll still keep an eye on this for later.




Ready or Not
Limited release August 21st; R
A stylish-looking horror comedy in which Margot Robbie's doppelganger (Samara Weaving) is the new bride of a member of a uber-rich family who have a tradition in which they kill all new brides as some kind of bizarre ritual sacrifice. A killer game of hide and seek in a wedding dress! With in-laws from hell! Also with Adam Brody who is great. I get a feeling I'm going to like this one.
(This is a red-band trailer that contains violence and language.)




Brittany Runs a Marathon
Limited release August 23rd; R
This looks like a cute comedy/rom-com. It's nice to see a movie where the character's physical improvement isn't all about just being more attractive. Here it's about being healthy, and valuing yourself and you life. I'm not sure it can be a great film on that great idea alone, (it should still be funny and honest and put together in a quality, entertaining way) but it is off to a good start.

Bad Times at the El Royale

Spoiler-free!

Drew Goddard is the man behind The Martian's screenplay and the director and co-writer of The Cabin in the Woods. He's also series creator of Netflix's best MCU show, Daredevil. All things I adore. And now, Bad Times at the El Royale. It's all his, and the things about those former movies that I suspected came from his mind has confirmation. I will officially watch anything that Goddard puts his pen on, because I love the way this guy writes.

We're on the same wavelength or something. ... I wish. 

This movie is the sort of movie that shouldn't be explained. It's also the sort of movie where if you watch the trailer and think you'll like it... well, I honestly would be shocked if you didn't. And while the style and tone are great indicators of what the viewing experience will be like, you'll walk away loving the undisclosed details if you walk away loving anything at all.

It starts out on a great foot and with an explosive bang, showing off visual storytelling, glee-inducing yet simple camerawork and drop-dead gorgeous colors and lighting. The opening scene is very much a miniature reflection of the entire movie. After that, things get going in a cool and leisurely pace with brisk undertones that serves as a reminder of what is promised to come. But the film doesn't get ahead of itself and carefully introduces each character, showing them interact and introducing intrigue in each. That introductory scene, and many after, felt almost theatrical, like an immaculately staged and well-rehearsed play. When it closed I felt the need to give applause.

Like in a play much of the interest comes from watching the actors interact with each other and the sets. There's a palpable energy between them.

It utilized chapters with old-timey title cards to mix up the perspective, one for each of the seven characters, and a fun side effect is that some events are witnessed multiple times, from differing perspectives, each one adding to the information and delving further into the mystery and intrigue. Also it's just plain a heck of a lot of fun for the audience. Every time a new title card is introduced it feels like a turning point, immediately dropping an info bomb about the corresponding character that shakes up the plot in magnificent ways.

All this fits inside a classic three-act structure, and helps with the building of tension and rise and fall of action, which turns out downright masterfully, but honestly what else would you expect from a writer who directs his own work? Goddard though, is perhaps exceptionally good at the job. He could've made this story about anyone with equally fascinating results. The mystery isn't even a mind-bender; it's merely crafted in a way that makes you eager to understand it. A perfect balance of revealing and withholding.

I like a movie with a slow burn. This one has firecrackers at intervals. And a hefty stick of dynamite for the end. 

I won't even bother to describe who the seven are. They are the movie's mystery. The El Royale is located on the California/Nevada state line, and guests must choose which side to stay on. There's a theme of false choices. For the hotel it's clear cut: California or Nevada. But with people it's more complex than that. "Good or bad? Right or wrong?" Well, what if a person's good but pretends to be bad? Or bad and pretends to be good? What if they think they're bad but they're good? Vice versa? Maybe they know if they're good or bad and own it. And maybe they don't know one side from the other or up from down. Is that seven options? Well, you get the idea.

Performance-wise, stand-outs will differ from viewer to viewer, but no one -- and I mean no one -- lacks in their performance at all. They're professionals, all, and each has significant moments to shine. Me, I particularly loved these three: Jeff Bridges, never not a standout, Cynthia Erivo, perfectly balanced with the voice of an angel, and Lewis Pullman, unexpected highlight of the whole film. I kid you not. And I exaggerate not. (Fun tidbit: he's Bill Pullman's son.) Dakota Johnson was way cooler than I thought she'd be, Cailee Spaeny was kind of brilliantly hilarious, Jon Hamm was a fun edgy/charm combo, and Chris Hemsworth was weird and very off-putting. Intentionally, of course.

My cynical side hopes that people who go solely to see him shirtless will be disappointed. My optimistic side hopes they'll instead be hit with the real magic of this movie. 

I figured they'd utilize music, but I had no idea of how far it would be taken, and how ingrained would be. There's almost always something playing, or someone singing, and all in-story. It bleeds into the style. There's a beautifully long and immaculately timed one-shot where a character is singing and another is sleuthing that I never wanted to end. The violence was all well and good -- no secret: the violence was my favorite parts every time -- but the intentional, calm pace in between is what keeps the movie thriving. Whether it lulls you into false comfort, or makes you aware of the impending doom, it's in that patience and restraint where the story is crafted.

Then the violence and the thrills come, and the prepared background makes them pop and startle with what seems like no effort at all. It's all in the prep work. This isn't an action movie, but those spurts of action put most action flicks to shame with how well-done and explosive they are. And this is my kind of film because in between those brief but generous spurts is character attention and exploration that is for me equally as exciting and fights and blood splatter; and it simultaneously works to enhance that action by putting stakes behind it all.

I didn't mention the dark humor. There's dark humor that I loved. Subtle. Unnecessary. And OH-so-fine. 

I'd love to have a deeper grasp on the themes explored here. I can't get into it here since I wanted to avoid spoilers, but the night I saw it I couldn't sleep for thinking about the themes and how they were portrayed. There was some wonderfully clever and impactful symbolism that struck me, and I've been pondering on it all ever since. It'll take a second viewing at least to strengthen and solidify my interpretation, and who knows how many more before all those lines and details even begin to get boring. If there's a threshold, I plan to find it.

Bad Times at the El Royale is a rich and silky-smooth thriller, pensive but not pedantic, intricate but never stale or tedious, sufficiently intense and mature, yet distinctly and determinedly fun -- and absolutely glowing in devious red neon. It may not be everyone's ideal vacation into the silver screen, but for those like me, who enjoy the... shall we say... less touristy locales... that perhaps feature the dangerous mark of a devoted artist... this incident may as well have been hidden away just for you to find.