Displaying items by tag: Michael Cera

SACRAMENTO

US, 2024, 89 minutes, Colour.

Michael Cera, Kristin Stewart, Michael Angarano, Maya Erskine, Rosalind Chao, Michael P. Angarano Sr.

Directed by Michael Angarano.

Sacramento, the capital of California, is the destination for the journey in this film, a road film from Los Angeles to Sacramento. However, Sacramento is also symbolic of the quest, a state of mind for the two central characters.

Sacramento has been written and directed by actor, Michael Angareno, who started his film career when very young. He is now moving into middle age and this is a middle-aged male story, not just of the character he plays, Ricky, but also of his longtime friend, now alienated, Glenn. It is their road movie.

Over the years Michael Cera has played a number of characters who are edgy, sometimes timid, sometimes forthright, but often with a touch of mental troubles. This time, as Glenn, he has been married for four years, his wife, played by Kristin Stewart, is about to give birth. But, she is the calm person, working, commonsensed, understanding and supportive of her husband even when he is exasperating. And, exasperating he often is, panic attacks, loss of job, prepared to be home parent, but almost throttling a cot they have bought which is not solid enough for him.

And we have been introduced to Ricky, wandering, erratic, casual encounters, one partner, Tally, I didn’t been giving birth but avoiding Ricky, going to live in Sacramento with the child. But, Ricki fancies himself as being able to read people, goes to discussion groups, intervening, and off.

So he decides to make contact with Glenn, persuade him to accompany him to Sacramento to scatter the ashes of his father. On the way, and exasperated, Ricki always on for the con, then the encounters with tally and the baby and matters going completely skew with.

Probably best to be an open mood in approaching Sacramento, maybe some difficulties and accepting the two characters, but, they are what some people are like, they need some help, some affirmation, some possibilities of breaking through past difficulties in finding a future.

1. The title, the destination, a state of mind?
2. Los Angeles story, the suburbs, homes, social groups? On the road, Northwest, the scenery, the stops along the way? The city of Sacramento, the views, homes, the river? The musical score?
3. The introduction to Glenn, sunbaking, reading, the woman calling out, into the water? Then discovering that he was four years married, Rosie pregnant? The introduction to Ricky, seeing with Tallie?
4. The film about mental issues? Glenn, anxiety, his job, loss of the job, symbolised in his breaking up the cot, Rosie understanding him, keeping him calm? Can Ricky and his being with Tallie?
5. Glenn’s story, his past, nerves, panic attacks, fatherhood, his relationship with Rosie, at home, her commonsense, keeping calm, accepting the pregnancy, going to work, content at being a house parent?
6. Ricky, age, temperament, going to the group, intervening, his theories, his jargon, the reaction of the doctor? The other members of the group and his interventions? The doctor warning him off? Yet his enthusiasm?
7. The background of Ricky and Glenn, growing up together, the friendship, the distance? Ricky his decision to contact Glenn? Arriving, trying to hide? Rosie’s response?
8. The two men talking, the significance of their mental upset, repercussions for their conversations? Behaviour? Glenn trying to avoid Ricky? Ricky persevering?
9. Ricky wanting to go to Sacramento, his explanation, the death of his father, coming from Sacramento, to scatter the ashes in the ocean? Glenn’s reaction, unwilling, disbelief? Out and the diner? Glenn and his motivations? Contacting Rosie?
10. The journey, an Odyssey, the gradual revelation of Ricky’s intentions, scraping up ashes to scatter, accommodation, his prized car, stopovers on the way, Glenn and his reactions, suspicions? Yet continuing on? The scattering the ashes and the clunk on the concrete?
11. Arriving at Tallie’s house, the real reason for coming, the flashbacks and the relationship between the two, the casual acquaintance, her pregnancy? The birth? Her character, reaction to Ricky, wanting gone, his continual perseverance in arguing with her? Wearing her down? Her treatment of the baby?
12. Her puzzle about Glenn, his sitting, observing, the phone calls with Rosie, knowing the truth about Glenn’s father? Going to the toilet, going to the baby, the cot and shaking it, taking the baby, driving off? At the service station?
13. Tallie’s panic, the scooter, catching Glenn, the arguments, unlocking the car, retrieving the baby? The cathartic moments for them all?
14. The year later, Ricky and the group, intervening, the discussions with Sal and his life and his case? The contrast with Glenn, the baby, getting some work done, the friendship with Ricky? Going home to Rosie and the baby?

THE RUNNING MAN

US, 2025, 134 minutes, Colour.

Glenn Powell, James Brolin, Colman Domingo, William H.Macy, Michael Cera, Emilia Jones, Lee Pace, James Frecheville, Sean Hayes.

Directed by Edgar Wright.

Stephen King, under his other name, Richard Bachmann, published the novel, The Running Man, in 1982. The film version was released in 1987, starring Arnold Schwarzenegger. This reviewer checked his review from 1987 and was surprised to find have the key elements from that period, political, media, violence, was so strong then. And, they are definitely to the fore in this version, almost 4 decades later.

It is hard to remember whether the television networks promoted such life-and-death hunts in those days – although, in 1988, the Truman Show was released, a more benign but nonetheless overarching intervention by television directors to control human stories. The other aspect of the novel and of the 1987 version was to refer to the hunts in terms of the Coliseum, gladiatorial combats, an avid audience relishing the possibilities for government sanctioned public deaths.

The bloodlust of audiences, rather sharpened by the variations on reality TV of the 21^st-century, is again to the fore. This time the target is Ben Richards, Glenn Powell reminding us that he is an attractive screen presence (emerging three years ago in Top Gun: Maverick, fighting tornadoes in Twisters, Romantic comedy in Anyone but You, and a charming Hit Man). Then his angry, fired for insubordination, desperate for finance for his sick daughter, auditioning to go into the Running Man Show, pursued by official and masked Hunters, getting bonuses for everyday of survival, million dollar reward if he survives 30 days.

A lot of action adventure, needless to say, risks, threats, narrow escapes, high-powered dangerous situations… And his eluding them all. Josh Brolin is severe as the network executive, controlling, dominant, until you are then further. And there is Colman Domingo as the television host, staring up the audience, showing clips of Ben and his survival as well as the pursuits.

Ben gets various amounts of help along the way, most eccentrically from a bizarre character played by Michael Sarah, pumping up the risks, magnifying the dangers.

At 2 ¼ hours, the film is very long, repetitive the pursuits and escapes, culminating in a perilous flight with a television soap Opera star as hostage.

On the one hand, action packed for the fans. On the other hand, a huge critique of this kind of gladiatorial reality show and its effect on its audience.

1. The title, the reality of Ben Richards being pursued, the television show, the network managers and controllers, the compere is, the Hunters, and the participation of the public, hounding the runner, helping him?
2. The perspective of Stephen King, his insights into this kind of world as early as the early 1980s, the film version of 1987, the development of this kind of media world and violence over the next four decades?
3. Action spectacular, the details of the chases, tensions, pressure, crowd watching in reality, in the studio, on the television screens, supporters, informers, the effect on Ben Richards?
4. Ben and his situation, his bosses, being fired, insubordination, anger, asking for money, his wife, his sick daughter? His motivation? The money and aid for the family? Going to the auditions, the range of tests, his helping the competitor falling? The team, the uniform, the other two members, the confident young man and his quickly being disposed of, the woman, at Las Vegas, defying the authorities, escaping, trapped and her death?
5. Dan Killian, manager of the network, his personality, seen on screen, his proposal to Ben, the money situation, his continued interventions, lucrative office, the bonuses? His ultimate intentions? The interventions, the Hunters, filming, the drones, the final plane ride and his control? The finale, the confrontation with the TV host, his defeat?
6. The TV host, the reality and the parody of the style of the host, taking sides, watching the sequences, staring up the audience, the progress of the hunt, the days passing? His ultimate stands, the confrontation with Dan Killian?
7. The various helpers along the way, the young man and his family, taking Ben into their home, his equipment, his pod cast, the information, driving the car? Morley, the past connections, the documentation, the authorities coming in killing him? Elton, eccentricity, his mother, the help, the challenges to the Hunters, the chases, the traps, tunnels? The vehicles on the escape, the crashes and pursuits?
8. Ben and the hotel, changing his identity, the cards, hair, moustache, disguises a priest? On the building, the pursuit, the sign, hanging, falling and crashing? The ultimate explosion?
9. The public, tracking him down, giving information, cheering him on?
10. The television show, the Americanos, Emilia, in the car, her believing the propaganda, then persuading her of the truth, the pursuit, the roadblocks, Ben being shrewd with Dan Killian’s intentions, his being led through, the plane, the pilots as Hunters, the unmasking of the previous competitor, the fights, the plane, potential crash? Emilia, helping, outside the plane, the parachute?
11. Ben, the images of his wife and child, the flashbacks, motivating him? Ultimate success?
12. A commercial and money world, Killian and his wanting Ben to have his own program, to be the TV Hunter?
13. The film offering a commentary on the contemporary world of power, the wielding of power, the media, the role of the individual, motivations, money, integrity?

THE PHOENICIAN SCHEME

US, 2025, 101 minutes, Colour.

Benicio del Toro, Mia Threapleton, Michael Cera, Riz Ahmed, Tom Hanks, Bryan Cranston, Mathieu Amalric, Richard Ayoade, Jeffrey Wright, Scarlett Johansson, Benedict Cumberbatch, Rupert Friend, Hope Davis, Bill Murray, Charlotte Gainsbourg, Willem Dafoe, F. Murray Abraham, Stephen Park, Alex Jennings, Donald Sumpter, Scott Shepherd.

Directed by Wes Anderson.

A significant part of the review for The Phoenician Scheme is to look at the huge credits list, many of the cast having appeared in a number of Wes Anderson films. And, of course, expectations from writer-director, Wes Anderson. Anderson has been writing and directing films, including two animation films, for more than a quarter of a century. His tyle and his exploration of themes is, to say the least, highly distinctive.

And, The Phoenician Scheme, is quite idiosyncratically distinctive. It is very stylised in the visuals, the traditional box screen frame, the framing of action, the references to paintings and the staging looking like 20^th century paintings. Then there are the performances, also stylised, often life theatre performances, eccentric and clipped delivery of lines, postures and posing. And, for those audiences ready to surrender to Anderson, there are many who do, these visuals and the performances are readily engaging.

There is a plot. The setting is 1950, an entrepreneurial businessman from Hungary, Korda, played perfectly, both seriously and ironically, by Benicio del Toro. He has survived several plane crashes, assassins out to get him and sabotage his plan for development, rails and tunnels in Phoenicia. We are presented with a chart indicating his plans as well as the contacts he must make to improve a shortfall in income project. They serve as chapters for the film.

Korda has many children, his own and adopted, hoping for an Einstein for the future. But his only daughter, Liesl, a novice nun, played by Mia Threapleton, is seconded, initially unwillingly and firmly committed to her vocation, to be his heir. (Mia Threapleton is following in the footsteps of her mother, Kate Winslet, a very interesting role.) And, there is Kord’a new assistant, expert on insects, played with accent by Michael Cera.

Interspersed throughout it is round table conference of elders who are monitoring Korda’s behaviour judging him and his morality accordingly.

The encounters with the various characters for financial help are highly entertaining, eccentric and satirically humorous in their way, incorporating the various stars listed above until a culmination in the fearsome presence of Benedict Cumberbatch Korda’s brother.

Then there are Korda’s memories and dreams, flashbacks in black-and-white, some of his near death, or momentary post-death, experiences, some ecclesiastical in an Orthodox style, others with biblical overtones, again with a number of stars – and a cameo by Bill Murray, who has been working with Anderson for a long time, culminating in his presence as God.

Anderson has a wry and offbeat sense of humour, so often the unexpected, some realism and then some surrealism, farcical moments, deadly serious moments, tantalising the audience, a treat for those who are willing to be tantalised.

1. A Wes Anderson film, style, visual, verbal, humorous, satirical, ironic? Underlying serious themes? The strengths of his casts, many actors reappearing in his films?
2. The visual style of the film, but colour like 20^th century contemporary paintings? Sets and decor? Photography, the black and white flashbacks? Staging of the action, like stage performance, all postures and posings? The stylised action sequences? The performances, stylised and realism? The language of the screenplay, the particular style of delivery? The overall effect and response?
3. The setting in 1950, memories of World War II, business enterprises after the war, international entrepreneurs, international projects and finance?, Double dealing?
4. The explanation of Korda, his business acumen, the 5%? The background of his marriages? Children and adopted children, hoping for an Einstein? His relationship with his daughter, novice nun, seconding her, naming her as his heir? His staff, his planes, the plans to kill him, his surviving the various crashes?
5. The plane ride, his assistant cut in half and swept away, the crash, surviving? Meeting his daughter, her personality, severe, dedicated to the convent, contact with the mother superior, wanting to make her vows? Her not knowing her father, his reputation with her? Her unwillingness to be part of his empire? The plan, her observing his behaviour, learning more about him, her beads, images, sign of the cross, holy water?
6. Bjorn, Scandinavian background, accent, present on the plane, his role as assistant, his expertise on insects, his attraction to Liesl, declarations? The comic style of his character, interactions?
7. The Phoenician scheme itself, tunnels and railway, the finance, the image on the screen with the various contacts for making up the gap in finance? The structure of the film, the various contacts?
8. The background of the assembly, the business discussions, the following of Korda, the decisions about his business and morality?
9. The Americans, in the tunnel, on the train, the discussions, suspicions, the meeting with the Prince of Phoenicia, the attack by the camel riders, the Prince saving Korda? The financial discussions, the proposal of the basketball competition, the Prince and his ignorance of the game, Korda hopeless, the skill of the two Americans, yet the Prince succeeding? Getting a grant?
10. Going to Marseille Bob, the manager of the club, past relationship with Korda, Liesel and Bjorn observing, the raid on the club, the freedom fighters, the personality of Sergio, Bob upset about the roof, and Korda taking the bullet for Bob? Getting the grant?
11. Marty, fast talking American, suspicious of Korda, Korda shot, Marty providing the blood transfusion, making an agreement?
12. Going to see Hilda, the distant cousin, her financial knowledge, the prospect of the marriage, her place in the family, with Liese?
13. The flight, going to see Nubar, the crash, the jungle, Bjorn and his being unmasked as an agent, his siding with Korda, Korda in the quicksand, Bjorn rescuing him, the arrival of Sergio and his revolutionaries, taking the group to safety?
14. The encounter with Nubar, looking sinister, the relationship, the mastermind behind the assassination attempts, discussing the family, the finance, the satirical physical fight between Nubar and Korda?
15. Korda, death experiences, near death, his life before him, black-and-white photography, the bearded Orthodox-like sequences, the characters, judgements? The biblical sequences, the personalities, the pageantry, Bill Murray as God?
16. Liesl, the contact with the mother superior, her being present for the business deals, the money for the community? Liesl opting to leave the convent?
17. The finale, Korda and his being honest, losing everything, restaurant, the working in the kitchen, father and daughter, reconciled, and a happy life?