The Two Popes (2019)

Direction: Fernando Meirelles
Country: UK / Italy / Other

In the agreeably conversational The Two Popes, Brazilian director Fernando Meirelles does a much quieter and static job than when portraying the slums of Rio de Janeiro in his masterpiece City of God (2002). However, his notable directorial work in this biographical dramatization bears no less responsibility since the film exclusively relies on the dialogue between two very different men of faith. Quick flashbacks also exist, yet they were never an added value to the impeccable writing material provided by Anthony McCarten (The Theory of Everything; Darkest Hour), who adapted his own 2017 play The Pope.

With the capacity of conquering more and more our interest as it moves forward, The Two Popes relies on outstanding performances from Anthony Hopkins as Pope Benedict XVI and Jonathan Pryce as Cardinal Jorge Bergoglio, now Pope Francis. Despite their discrepant personalities and vision, these men were able to open up with each other and discuss complex topics related to the Church as an institution, including some well-known Vatican scandals. They do it with honorable mutual respect and deep understanding. This posture should serve as an example for all the narrow-minded rulers of our tumultuous times. 

The picture reconstructs not only how the most recent papal succession took place, but also the beautiful and solid friendship established between the two popes. It was lovely to see how the visibly tired and lonely German-born Benedict, far more conservative in his approach to life and consequently lacking the openness and clarity the Catholic Church needs today, became receptive to the candid ideals of Bergoglio, a popular Argentine ecclesiastic with a casual, friendly posture, wide sense of humor, and love for soccer, pizza and tango. 

The confessions are the most powerful moments of the film, the trust is unbreakable, and I like to think that a divine hand was involved in this succession, ensuring a better future for the Catholic Church.

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Daniel Isn't Real (2019)

Direction: Adam Egypt Mortimer
Country: USA

For a low-budget film, Daniel Isn’t Real did a lot, revealing some refreshing originality when compared to other horror movies with more financial possibilities. Second-time director Adam Egypt Mortimer made some conceptual and technical advances since his 2015 debut Some Kind of Hate, sharing writing credits once again with Brian DeLeeuw. The latter is the author of This Way I Was Saved, the novel that served as inspiration for the film.

The central character is Luke (Miles Robbins), a college freshman experiencing mental problems. In his sad, solitary childhood, Luke often experienced abandonment, growing up with no father and worrying with his schizoid mother, Clare (Mary Stuart Masterson). His only company is Daniel (Patrick Schwarzenegger), a sinister imaginary friend who addresses him with authority, often pushing him to wrongdoing. Frightened of what his mind can do, Luke gets rid of Daniel for a certain period of time, but years later, following the suggestion of his unconventional psychiatrist, Dr. Cornelius Braun (Chukwudi Iwuji), he gives Daniel permission to follow him everywhere. This makes his mind spin out of control, threatening the relationship with his girlfriend, Cassie (Sasha Lane). Is Daniel a product of Luke’s mind or a supernatural demon looking for a weak host?

This violent, gloomy film got some deserved media attention thanks to the guts and gore, haunting atmospheres, and fine special effects. Whether this is your cup of tea or not, one must admire DeLeeuw for the mystic-induced creativity and Mortimer for the capably execution.

Uncut Gems (2019)

Direction: Josh and Benny Safdie
Country: USA

Uncut Gems generates a propulsive energy throughout that will make you invigorated. Kinetically shot and packed with restless, breathtaking sequences, the film is anything you’ve seen before. It’s also a showcase for Adam Sandler, who squeezing a lot out of the narrative, delivers his most dazzling performance since Punch Drunk Love.

Steeped in a busy, high-end New York atmosphere, the film marks another well-told chapter in the admirable filmography of the Safdie Brothers, authors of excellent indies about never-to-be-forgotten people - Daddy Longlegs (2009), Heaven Knows What (2014), and Good Time (2017). Once again, they teamed up with Ronald Bronstein for a brilliant screenplay.

The story centers on Howard Ratner (Sandler), a Jewish-American jewelry store owner whose hectic life feels like riding an ultra-rapid rollercoaster. Not even us, the viewers, have time to breathe when peeking at Howard’s tense affairs and inextricable predicaments. Because of his gambling addiction, rough debt collectors, who work for loan sharks, frequently stop by his office and give him a hard time. Moreover, most of his employees are unsatisfied for having to deal with his financial imbroglios on a daily basis; his wife, Dinah (Idina Menzel), sees him as an irresponsible imbecile, while his lover and store collaborator, Julia (Julia Fox), was found on the verge of cheating on him with the R&B singer The Weekend (himself) at the latter’s party. On top of that, he embarks on a risky business with the NBA player Kevin Garnett (himself), who got obsessed with an uncut Ethiopian opal.

Bursting with inventiveness and vibrancy, Uncut Gems is simultaneously nerve, guts, passion, and brain. A triumphant exercise in cinematic storytelling, stirred by the main character’s mercurial ups and downs. Very few recent films can boast this intensity, humor, and unpredictability. And the Safdies attained glory.

Knives Out (2019)

Direction: Rian Johnson
Country: USA

With titles such as Brick (2005), Looper (2012), and Star Wars: The Last Jedi (2017) as references, American writer/director Rian Johnson has proved to have a knack for action thrillers and sci-fi adventures. With Knives Out, he probes the crime-mystery genre with relatively good results. The film, admirable in its narrative construction and bearing some significant parallels with Agatha Christie’s detective stories, features a dream cast spearheaded by Daniel Craig, who, with a heavy accent, gives life to detective Benoit Blanc, a passive observer of the truth. This calm, patient man is hired by an anonymous person to solve the mysterious death of Harlan Thrombey (veteran Christopher Plummer), a wealthy crime novelist who supposedly committed suicide on the night of his 85th birthday.

The closest members of the family are automatically considered suspects and no exceptions are made. Among them are the defunct's avid children, Linda (Jamie Lee Curtis), Joni (Toni Collette), and Walt (Michael Shannon); the apparently indifferent grandchildren, Ransom (Chris Evans) and Meg (Katherine Langford), and his presumptuous son-in-law Richard (Don Johnson). In addition to minor personal conflicts with the patriarch, all of them had his large inheritance in mind.

Nonetheless, a key element for the enigma happens to be Marta Cabrera (Ana de Armas), Harlan’s faithful nurse and confidante, who pukes every single time she lies. This factor can be both incriminatory and intimidating. The point is: everyone lies at some point.

Finely calibrated in tone, the film announces the culprit way too early, and the filmmaker tries to mend faults by delivering some fast-paced moves by the end. He totally misses the humor, though. Everything is familiar yet everything is amusing in Rian Johnson’s composed puzzle.

The Good Liar (2019)

Direction: Bill Condon
Country: UK

Bill Condon’s The Good Liar is a colorless, shallow thriller that completely collapses in its attempt to combine con-artist entertainment and serious revenge tale.

Screenwriter Jeffrey Hatcher worked in the adaptation of Nicholas Searle's novel of the same name. Still, even with the leading roles in very good hands - Ian McKellen, in his fourth collaboration with the director, and Helen Mirren, were the elected ones - the film doesn’t break new ground and sort of freezes with limitations. In truth, the troubling twists of the plot feel more insecure than exciting, creating an off-putting distance between viewers and characters.

The story mostly concentrates on Roy Courtnay (McKellen), a perennial con artist who finds the perfect person to swindle. She is Betty McLeish (Mirren), a wealthy widow that incautiously opens the door of her house for him after a single date. Clearly, Roy is not the man he claims he is, but my inevitable curiosity went to the unsuspicious Betty. Is she completely transparent and as naive as she seems to be?

Torpid dialogues, an intrusive solemn score, an unsustainable crime without repercussions, a pointless trip to Berlin with staged developments, and a rushed revival of past occurrences are all aspects that help The Good Liar sinking deeper in the mud. Playing like a stage farce, this is one of those films where even the cast loses faith in a better outcome.