JoelAlexanderr

Each of Shakespeare's many plays has been told in so many various different mediums and iterations that it is difficult to comprehend new and interesting versions of these same stories. Yet, as Joel Coen's new film THE TRAGEDY OF MACBETH shows, filmmakers can still reinvent these stories and create something fresh and creative. One of the most visually satisfying movies of 2021, MACBETH both showcases technological wizardry and serves as a powerful reminder of the universal themes that pervade Shakespeare's tragedy. The film includes Denzel Washington with a stellar lead performance that will likely be considered the quintessential version of the famed character Macbeth for years to come.

When I say that THE TRAGEDY OF MACBETH is an adaptation of the Shakespeare play, I don't mean that the film keeps the general story and makes the dialogue its own, similar to how The Taming of the Shrew was adapted into 10 Things I Hate About You. No, I mean that this film is word-for-word the original Shakespeare play, so much so that it often feels like watching a stage production onscreen. The very first scene contains a hefty monologue which brings much of the exposition needed to begin the classic tale, and even serves as a filter for those who aren't aware they are about to watch a piece of Victorian literature. (I discerned the movie better than I thought, although I did have to rewind after the first 5 minutes and turn the captions on.) From then on, THE TRAGEDY OF MACBETH is unique in that it manages to bring to life a classic tragedy with a long legacy while also proving to be a highly original experience.

The film owes its originality to the visual mastery displayed by director/writer Joel Coen and the incredible crew -- namely director of photography Bruno Delbonnel. The film is shot in black and white, and on small sets, which gives the viewer a sense of confinement and insanity, and reminds one of the acclaimed 2019 film The Lighthouse. Every shot Delbonnel produces has an almost otherworldly nature to it, making Macbeth's mental deterioration feel like a shared experience. Some of the more intangible aspects of Shakespeare's play (the vision Macbeth has of the dagger, the three witches, the moving forest) are portrayed with a clarity that showcases the visual creativity of everyone involved with this film. THE TRAGEDY OF MACBETH is easily one of the most well-shot movies of 2021, and it is a clear frontrunner for the Best Cinematography Oscar (especially because The Green Knight will likely be snubbed by the Academy).

Another aspect of MACBETH that elevates it above other adaptations is the lead performance from Denzel Washington. Saying that Washington gives one of the best performances of his career is a difficult statement given just how many amazing roles are in the running. The fact that this performance is anywhere near the top of his filmography should be an indication of the talent he demonstrates here. The way Washington delivers his Shakespearean dialogue allows the average viewer to understand the meanings behind each scene with clarity. All of the performances in THE TRAGEDY OF MACBETH are from good to great, but Washington is a reason alone to see this movie even for those who have no desire to see a Shakespeare adaptation.

Possibly the largest and only downside to THE TRAGEDY OF MACBETH is that the story has been told many times before, making the whole narrative a familiar one. However, the movie is so consistently original and refreshing that it supersedes any comparisons that could be made to previous adaptations. Macbeth has always been one of my personal favorite Shakespeare tragedies, so to see it told with such care and creativity at the forefront is immensely satisfying. Coen proves that he doesn't need his sibling to direct a fantastic, award-winning film and crafts a literary essential in the process. THE TRAGEDY OF MACBETH may be getting some acclaim now, but in years to come it will be a definitive example of how Shakespeare can be adapted correctly into contemporary cinema.

A-

The nature of movie criticism is to dissect the many different meanings a film can possess, determining for an audience whether said film is worth watching based on how one's interpretations fare. Many people hold movies up to a uniform standard of complexity and meaning, but for me it depends on what direction a filmmaker is trying to go. THE TENDER BAR, a new film directed by George Clooney, is a coming-of-age story based on a memoir by acclaimed journalist and author J. R. Moehringer. Young JR (a fantastic child performance from Daniel Ranieri) grows up in Long Island with his mother (Lily Rabe), grandfather (Christopher Lloyd), and charismatic uncle (Ben Affleck), and finds a home in the local bar in his small town. The film is a typical bildungsroman in every respect, and the movie is captivating in that sense. Many will justifiably complain that THE TENDER BAR never attempts to be anything more, but Clooney doesn't shoot for the stars with this narrative, which never hinders the nostalgic story.

Perhaps the most desirable aspect of THE TENDER BAR is the authentic experience of childhood portrayed in the first half. The experiences of Young JR are lived-in, true to reality and portrayed in a way that will remind audiences of the people who influenced their lives when they were young. This film is filled with memorable supporting characters who may not seem important in a plot sense, but whose presence will impact JR's upbringing in an irreversible manner. Most of us look back at our childhood with fond eyes even if there was hardship involved. The main character in this movie does the same, even though JR is constantly struggling with an absentee father and a lack of money. Time quickly passes to JR as a young adult (Tye Sheridan), and suddenly those small moments in childhood feel like more than small moments, but defining memories that one longs to relive. The nostalgia of one's upbringing is fully captured in that sense, reminding viewers of the times when living was simpler.

Much of this blissful feeling of childhood is captured by JR's Uncle Charlie, an eccentric yet caring man who serves as a father figure to JR. Affleck plays this character beautifully, continuing a hot streak of amazing performances he has maintained from The Way Back to The Last Duel. He steals every scene he is in, and delivers one of the best supporting performances in his career since the strikingly similar role he had in Good Will Hunting. The other highlight is Sheridan as the older JR, who proves himself yet again to be a great up-and-coming star who will snag some great roles in the near future. These two lively performances heighten the connection to these characters stolen straight from real life, and make THE TENDER BAR a compelling narrative to watch despite the relative lack of plot. The movie shares this quality with the 2021 film The Hand of God, and while THE TENDER BAR never has as much inherent meaning as the aforementioned example, it captivates equally.

Some may find THE TENDER BAR tedious or pointless, and though it contains some quality performances and direction, the film does contain moments that feel unnecessary. Clooney has not made a tight film with perfect pacing, instead settling for an imperfect experience full of superfluous, fleeting moments. Clearly the intention was to reflect the state of life, but at times more of a solid direction could be craved. However, the movie as a whole still succeeds at its goals of being a tender story of growing towards adulthood. Those who lived through the 70's will also find plenty of nostalgia in the great production design, while also being reminded of their childhood loved ones in the parental figures portrayed. In this sense, THE TENDER BAR is a great success, making for an experience in which viewers will be able to connect with the real characters and find their own meaning.

B.

In the past couple of years, Netflix has cemented themselves as one of the most prolific generators of award-winning content due to the constant frequency of high-profile projects they release. Due to this high frequency of movies, some are inevitably bound to be lacking in quality compared to the major hits. Maggie Gyllenhaal's THE LOST DAUGHTER, despite the efforts of the talented people involved, seems to be a case of a movie that inherently generates buzz among critics, but never has the thematic punch seen in other worthy films. The film feels stuck in the first 30 minutes, so by the conclusion the character arcs and themes never quite come together in the way the movie intends. However, if for nothing else, THE LOST DAUGHTER is a fantastic showcase of great acting from the two leads: Olivia Colman and Jessie Buckley.

The film centers around Leda (Colman), a woman who arrives on a small resort island to take a quiet vacation. The audience knows very little about her as the movie begins, and much about her is assumed by the way she treats others and keeps to herself while on this vacation. This is one respect where the movie succeeds: the audience feels up-close-and-personal to Leda and the film shows the struggles of her past well through the small actions of the character. However, this may be due to Colman's fantastic performance more than the script or the direction, so because of the good casting this aspect of the film starts out strong. As Leda's stay continues, she begins to become enamored by the life of a large family, specifically a younger woman named Nina (Dakota Johnson) and her small child. The experiences she sees Nina deal with remind Leda of her past, shown through flashbacks with Buckley playing the younger version of the character, and this peaceful vacation becomes a reliving of her past mistakes.

Obviously, Colman is one of the highlights of THE LOST DAUGHTER, which is a given at this point since she hasn't put in a bad performance in memory. However, the performance that steals the movie is Buckley, who must not only carry the emotional weight of every flashback scene, but who alters her mannerisms impressively to become a younger version of Colman. The whole ensemble here puts in good work, although some, like Johnson and Ed Harris as the caretaker of the home Leda stays in, are wasted with either too little screen time or unfulfilling character arcs. This speaks to a larger problem first time director/writer Gyllenhaal has with her characters in THE LOST DAUGHTER in that the progressions lack thematic relevance to the film's topics and overall commentary. Thus, even though Colman and others do their best with the material, the script never gives their performances the meaning they require to truly succeed.

THE LOST DAUGHTER is never truly bad. In reality, it's much the contrary -- for a first feature Gyllenhaal proves that she has the directing talent to craft a personal, interesting slow-burn drama and adapt a rich novel with critical acclaim. Her screenwriting here is less impressive, with the powerful themes about the responsibility of parenthood heading nowhere by the end of the film. The script and the novel clearly deal with a loaded subject and have plenty to say, yet by the end no pointed commentary is made that generates empathy for mothers and their great responsibility. In fact, the film ends up doing quite the opposite -- making viewers believe that women should be better parents than they are by portraying a character that is at times nonsensically flawed. Colman's character does so many questionable things that one wonders whether someone like her should be a parent at all, which was clearly not the message Gyllenhaal was intending to deliver.

The complexity of the characters in THE LOST DAUGHTER is what many hold to be its greatest strength, yet the only complex character in this ensemble seems to be Leda, and even then the negative traits of the character get in the way of any possible lesson to be learned. Parenting is difficult and sometimes it can get so hard that a mother can find herself feeling disdain towards her children. This difficult message is one worth pondering over, and Gyllenhaal's examination of this is a worthy one even if it contradicts itself at times. The performances here (Buckley and Colman especially) deserve the acclaim they could potentially receive, and Gyllenhaal proves to be a worthy director who will retain audiences' attention once her next film releases. THE LOST DAUGHTER just cannot seem to pull its themes together by the end and feels like an empty and confusing experience without an emotional payoff that will not keep the film in viewers' minds after watching.

C+