Displaying items by tag: Tony Goldwyn

ONE BATTLE AFTER ANOTHER

US, 2025, 161 minutes, Colour.

Leonardo DiCaprio, Sean Penn, Benicia del Toro, Teyana Taylor, Regina Hall, Chase Infiniti, Tony Goldwyn, James Downey, John Hoogenakkerr, Kevin Tighe, D.W.Moffat.

Directed by Paul Thomas Anderson.

An American movie with quite some frightening impact – even though there are many, many comic moments throughout. It has been written and directed by Paul Thomas Anderson who has had a significant 30 year career, many feature films and great number of music videos. For this reviewer, Magnolia and The Master stand out as well as the menacing There Will be Blood.

Anderson has said that he was interested in Thomas Pynchon’s 1984 novel for many years, seeing it as something of a futuristic vision of a disturbed United States, revolutionaries, status quo, clashes and violence… He has taken the novel as a starting point for a 21^st-century futuristic look at this kind of United States. Filming was completed by 2024 but by its release in mid 2025, it does not seem futuristic so much as a satiric imagination of Donald Trump’s America, no longer futuristic, the present. (And it will be interesting to look back on this film when the second Trump presidency ends.)

The opening is quite disturbing, intense revolutionaries, of the left, protests and sabotage down at the Mexican border, the freeing of imprisoned migrants and refugees. More than topical. And then there is the military, the revolutionaries battling the soldiers. The key revolutionary is Perfidia, played by an intense Teyana Taylor. And her comrade is explosives manager, Pat, Leonardo DiCaprio. There is an intense power and sexual struggle between Perfidia and the symbolically named soldier Lockjaw, one of Sean Penn’s best performances. The revolutionaries are shown in a collage of all kinds of explosive protests but, no spoilers, they are dramatically taken down – with unforeseen circumstances and consequences.

However, the action suddenly moves on 16 years, Pat is living with perfidious daughter, Willa, Chase Infiniti, popular at school, Pat changing his name to Bob, tough with his daughter but the consequences of drink and drugs hovering. Long story short, his daughter is taken by the military for interrogation, and Bob has to go on the run, making contact (in an exaggeratedly funny sequence where the bureaucratic revolutionary on the other end of the phone won’t accept that Bob over the years has forgotten aspects of the recognition code), making contact with Willa’s martial arts teacher, Benicia del Toro, and all kinds of action adventures on the way to the hippy convent where she has taken refuge.

Colonel Lockjaw has come up through the ranks and is being offered the opportunity to join one of those secret societies of ageing white men, the Christmas Adventurers!. A lot of satire as we sit in on meetings of the committee. But, they have the power, influence the politicians, pride themselves on racial purity… And Col lockjaw suddenly presents a problem because of his past association with Perfidia.

So, definitely one battle after another, and abuild up to quite an exciting climax with cars speeding along the highway, Willa, Bob, pursued by the elite club hitman, an extraordinary photography of highways through the desert which continuously undulate almost like a rollercoaster ride mounting to a literally smashing finale.

Somebody has noted that Steven Spielberg has seen the film several times – which does indicate that for those who found it impressive on first viewing, it would probably be even more impact the second or the third time round.

1. This film in the career of Paul Thomas Anderson? Critical acclaim? Popular response?
2. The inspiration from the novel, Vineyard, by Thomas Pynchon? The novel from 1984, Anderson developing ideas with the novel as a starting point, for the 21^st-century?
3. The scope of the film, revolutionary groups in the United States, race issues, the Mexican border, sheltering of refugees and migrants? The authorities, the role of the military and the police, increasing authoritarianism? Background of wealthy white older men and secrecy and conspiracies, elitism? Characters within this society?
4. The locations, the range of locations in California, from the forests and woods of the North, to the coastlines of the desert scenery of the South, urban El Paso?
5. The range of music, different moods, the range of songs included, lyrics? And the climactic music of road chase and the undulating terrain and tarmac, rollercoaster-like?
6. The strong cast and performances?
7. The impact of the first part of the film, France 75 and the revolutionary code and behaviour, the introduction to Perfidia, walking along the road, arrogant, in charge, Pat and his explosives, the other members of the group, the American-Mexican border, the infiltration, overcoming the troops, the confrontation with Lockjaw, her taunting him, sexually, overcoming him? The migrants and refugees, the achievement of the mission? Explosions and mayhem?
8. The members of the group, Deandra being more sympathetic, the other women? The collage of the various raids and the spectacular success, explosions, robbing banks…?
9. Perfidia, planting the bomb, Lockjaw and his intelligence, tracking her down, the confrontation, the sexual encounter, his letting her go? His threats, imprisonment, his persuading her to give names and locations, tracking down the various members, action, flights, arrests? Her escape from Lockjaw, but considered a rat by the revolutionaries?
10. Perfidia, pregnant, still acting independently, shooting ranges, going out, giving birth, the relationship with Pat, becoming the father, tending the child, the disappearance?
11. 16 years later, the child, Charlene, now called Willa, cared for by Pat, his name now Bob? At home, the style of the house, his background of drugs, the codes, the machines, his being apprehensive? Her character, independent, going to school, the martial arts classes, Sergio, the dance, the friends coming to the house, the transitional student, pronouns, they? Bob and his reaction, his treatment of Bluto and the others, her defiance? Going to the dance, the visuals of the dance?
12. Leonardo DiCaprio as Bob, addict, protective, the crisis, his friend arrested, his having to flee, trying to contact Willar, getting the help of Sergio, his shop, his contacts, the refugees, the safe house, getting them out of the house, Bob trying to make contact, not remembering the date with the code, the exasperation with the official at the end of the phone, talking to his friend, persuading him to reprimand the contact and his apology? Bob, escaping, leaping over the roofs, falling, tasered, arrested, interrogated, the contacts with the revolutionaries, his escape?
13. Lockjaw, Sean Penn’s intense impersonation of the rigid military man, Perfidia seeing him, overcome by Perfidia, the sexual taunting, his humiliation, his finding her, the sexual encounter, the birth of the child, his tracking her down, arresting her, the interrogation, her giving him the names, the disappearance to Mexico, his rising through the ranks?
14. 16 years later, his quest for his daughter, the invitation to join the Christmas Adventurers’ club, various members of the club, white, older, middle-aged, power, their meetings, discussions, the invitation to Lockjaw, the sudden discovery of the documents, summoning Tim as their action man, to eliminate Lockjaw?
15. Lockjaw, getting the help of the bounty hunter, getting the military, information about the revolutionaries, raiding the dance, taking Willa, the issue of her having a phone or not, the machines to detect her presence? The interrogations, the treatment, her reactions?
16. Deandra, her character, revolutionary, rescuing Willa, taking her to the convent, the eccentricity of the nuns, revolutionaries, marijuana? Lockjaw and his troops arriving, the interrogation of Willa’s friends and their treatment? And his DNA test?
17. Bob, in the car with Sergio, the pursuit, Sergio pushing him from the car for his escape? Bob wiring another car, going to the convent, trying to shoot Lockjaw?
18. The final showdown, the undulating roads, the hills, the rollercoaster effect, the music? And the bounty hunter, his change of heart, taking her to the hardened group, the shootout, her escape, driving? Smith and his mission to get rid of Lockjaw and Willa? His shooting Lockjaw, the crash of the car? The three cars, Willa, Smith, Bob, up and down the undulating roads? Willa and her plan, Smith crashing into her, the testing him with the codes, her shooting him? Bob, finding her, her agitation, the codes, reunited with Bob?
19. Lockjaw, surviving, scarred, coming to the club, being welcomed, his own office, seated in the office, locked in, the gas, his death, carried out?
20. Willa and Bob, mellowing a little, her going to a protest in Oakland?
21. The inspiration from Thomas Pynchon in the past, filmed during the Joe Biden presidency, released during the first year of the second Trump administration, the crises of 2020 file, refugees, power, the Trump cabinet, money and corruption…? And the future of the US?

PLANE

UK/US, 2023, 107 minutes, Colour.

Gerard Butler, Mike Couter, Tony Goldwyn, Yosan An, Evan Dane Taylor, Paul Ben-Victor, Daniella Pineda.

Directed by Jean François Richet.

An extremely plain title! And Plane is what the film is all about.

Here, Gerard Butler is reclaiming his Scottish identity and accent. Audiences may have forgotten that he was The Phantom of the Opera on screen in 2004. However, his career, especially in the United States, has been in action films, something of a strong saviour figure in all kinds of desperate situations especially with films with “… has fallen ”In the title.

This film is lower key, especially in the first half. Gerard Butler plays a pilot based in Singapore, his wife dead for three years, his daughter studying in California, New Year’s Eve, his making contact to meet his daughter, a six hour flight to Tokyo, only 14 passengers. The weather forecast is somewhat dire but the authority figure decides that they will be able to ride through it.

They don’t. So, audiences can identify fairly quickly with the setup. However, there is one factor not told to the passengers, the sudden transporting of a criminal killer with an American agent, handcuffed, sitting at the back of the plane. (And audiences who have seen Wesley Snipes in Passenger 57 will be anticipating all kinds of mayhem on the flight – but this does not eventuate, far from it!)

The storm is severe, Butler and his pleasant co-pilot, Dele (New Zealand Chinese actor Yosan An) take the plane up to 40,000 feet, a strip are struck by lightning, lose power and connections, time their fuel supply and their searching for a possible landing spot – remote island in the Philippines, using a country road, safe landing, the casualties not due to violence but the crash.

The second part of the film has all the action violence. And not entirely implausible. They find they have landed on an island, abandoned by the Filipino government and military as too difficult, a home of rebels who take hostages and demand money.

Hence, a reasonable situation for an action film, the pilot trying to save the passengers, the threats of the terrorists, and a new role and interpretation of the criminal passenger.

In the meantime, the headquarters of the air company, the fixer coming in, press releases and conferences to cover all situations, the pilot using his wits and getting a message through via his daughter, an American squad landing, confrontations – and, of course, quite an exciting climax.

Perhaps we have seen all these ingredients before, not perhaps! But, the various situations, characters and issues are well put together for an enjoyable action show pastime.

1. The very plain title? The action living up to its name?
2. Drawing on inventions for plane disasters, storms, crash landings, survival – then the transition to terrorists, hostages, American intervention, the final drama of the takeoff and escape? Enjoyment for popular entertainment?
3. The setting, New Year’s Eve, Gerard Butler and his reputation in films, action, strong, saving situations? More ordinary here? Pilot, Singapore-based, UK experience, asserting his Scottish identity, the death of his wife, his daughter studying and contact with her? Flight, Singapore to Tokyo, only 14 aboard, his charm with the flight attendants, the information about the prisoner under guard? The co-pilot, from Hong Kong, his family, good relationship?
4. The warning about the weather, the decision to go through the storm, the later reprimand of the authority for that decision? The takeoff, the range of passengers, the 3 girls and the photo, the cantankerous passenger and his criticisms, the prisoner, his guard, the handcuffs?
5. The effect of the storm, the lightning strike, the pilot handling the situation, contact with flight control, the loss of contact, the turbulence, the guard trying to reach his phone and his death, the death of the flight attendant? Visual effects for audiences to share this experience? The pilots, using their wits, timing, getting through the storm, estimating where they work, the Philippines, making towards land, landing on the island, the road, the effect of landing, surviving, getting things out of the plane, the shelter, interactions?
6. Brodie Torrence, the decision to fight help, taking the prisoner, the conversation, his background, the accusation, his disappearance, the foreign Legion, his military skills? Finding the terrorists headquarters, Brodie and his fixing the phone, the headquarters and the condemnation of crank calls, phoning his daughter, her getting the message through? The terrorist, the fight, the prisoner and his intervention, the escape, the vehicle, back to the plane?
7. The information about terrorists in the Philippines, the lawlessness of the island, the discovery of the camera, the passports, the taking of hostages, demands, executions? The leader, his control, the violence, the locals, the range of thugs? Going to the plane, the attack, the girl running and her death, her friend and his being killed? Rounded up, into the bus, taken away?
8. Brodie, leaving the message on the pilot’s seat? Going back, the attack on the terrorist, Brodie deciding to hang himself over, getting the passengers out, back into the bus, the drive back to the plane? Brodie, the interrogation, the meetings?
9. The headquarters, the personnel, skills in negotiating, getting help, the technological information, press releases, keeping face, the phone calls, Brodie’s message getting through? The sending of the squad? The Filipino government reluctant to help?
10. The squad, the landing, the confrontation with the terrorists? Brodie, getting back to the plane, the prisoner, discovering the money, taking it, disappearing? But his continued help with the shooting?
11. The final situation, the squad keeping the terrorists at bay, Brodie and his injuries, fixing the break, the passengers inside, his getting into the plane, the squad on the plane, continued firing? The rocket, Brodie steering the plane at the vehicle and the gunmen? At headquarters, the reluctance to let the plane fly, the final encouragement? The drama of the takeoff, the co-pilot and his contribution during the situation? Finding the island, the landing?
12. Action entertainment ingredients, entertainingly put together?

EZRA

US, 2023, 101 minutes, Colour.

Bobby Cannavale, William E.Fitzgerald, Rose Byrne, Robert De Niro, Whoopi Goldberg, Tony Goldwyn, Rainn Wilson, Vera Framiga, Matilda Lawler.

Directed by Tony Goldwyn.

While there have been a number of films dramatising autism and its effect on those on the spectrum (for example the very striking Temple Granted with Claire Danes), this is very audience-friendly look at an autistic boy.

Audiences will be sensitive to the issues, the emergence of awareness of autism in more recent decades, consequences for family life and parenting, for education opportunities whether in the community or specialised schools, the issues of medication for “normalising” the autistic person.

The screenplay for this film was written by Tony Spiridakis, based on his own experience with his son and, as he has noted, his learning how to finally step back from trying to control his son’s life. He has been a long-time friend of the actor-director, Tony Goldwyn, and Goldwyn has directed this film as well as taking a small role.

‘The film also had multiple autistic crew members on set to ensure its authenticity. Other cast members were directly related to a family member who has autism. Throughout the production, the creators screened different versions to the autism community for feedback.’ (Wikipedia entry on the film.) This is the case with Robert De Niro who plays the grandfather here.

Film opens with Ezra aged about 11, having great difficulties at school, fighting, on the verge of being suspended. Young William A.Fitzgerald is very convincing as Ezra. His parents are divorcing. He lives with his mother, Jenna, Rose Byrne, devoted, anxious, supported by her lawyer, Tony Goldwyn. But there are frequent visits from his father, Max, Bobby Cannavale very powerful and emotionally-charged in perhaps his best screen performance. He plays a stand-up comic and writer, taking his son to the performances as his supportive Mojo. However, he wants his son to be “normal”, in ordinary school with ordinary students, and is highly suspicious of any medication for the autistic condition.

Max lives with his father Stan, De Niro, asserted past which need some kind of resolution and apology.

The film dramatises the plight of the young boy, determined, sometimes fixated in autistic mode, devoted to each of his parents.

After an incident, almost an accident with Ezra being injured on the street, Max’s tension becomes even higher, assaulting the doctor in the hospital, arrested, a restraining order, becoming desperate and kidnapping his son, intending to travel to Los Angeles for a spot on the Jimmy Kimmel show, organised by his agent, played by Whoopi Goldberg.

With police intervention, Max takes refuge in the home of an old friend, a sympathetic Vera Farmiga, whose daughter involves Ezra in play, and introducing him to a horse, patting it, befriending it, some moments of freedom and joy.

The climax occurs in the Jimmy Kimmel studio, Jenna arriving with Max’s father, the police and the authorities, clash, Max arrested.

However, there is a more peaceful ending, Max calming down, Jenna and caring for Ezra – and an enjoyable Jimmy Kimmel show postscript.

An audience-friendly film on issues of autism.

1. The focus of the with police intervention, film on Ezra, age, autism, symptoms, behaviour, relationship with father, with mother, was grandfather?
2. The New Jersey setting, homes, streets, schools, police precincts, jails, comedy clubs? The American countryside, the journey to Michigan, the farm, the horses? The roads, diners along the way? The Jimmy Kimmel studios? The musical score?
3. The screenplay, Tony is very darkness and his experience with his own son, the cast with family connections to autism, autistic members of the crew? The testing out of sequences?
4. The audience entering the situation, Max and Jenna, marriage, Ezra, is autism, the years passing, is experiences at school, the parent being called in, the violence and his outbursts, expulsion?
5. Max, his devotion, taking Ezra to his stand-up comic digs, his Mojo? Ezra and his responses? The bond between father and son? Jenna, the day by day care, the divorce proceedings, a relationship with Bruce, lawyer, his advice? The scenes at home, care for Ezra?
6. William A.Fitzgerald and his presence and performance as Ezra? Manner, the symptoms of the spectrum, way of speaking, movie quotes, reactions, violence, not being touched, bananas, phobias? It shrewdness? At home, at school? His dislike of Bruce? Going to the club, the theme of the big Lebowski? Home late? Jenna’s reaction?
7. Robert De Niro is the grandfather, Pop-pop, the back story as it unfolded, difficult, cooking for the military, hard on his wife, her abandoning the family, Max thinking it was to blame? Living at home with his father, the memories of the past, his father’s severity, violence? His father as a doorman at the hotels? Max taunting him about his parking sign, his military service, cooking? The difficult relation with Jenna?
8. Max, relationship with his agent, Jane, her bookings for him, his performance after the experience of Macs, overhearing Bruce, interpreting literally, rushing out, the dog, taxi, hospital? Maxes hope reaction at the hospital, attacking the doctor, the arrest, the police, release, his doing a deal? The performance of the club and it’s sad ending, is talking about his doing the deal? The decision to abduct Ezra? Is being on probation with the law? Phoning his father?
9. It is, the discussion about medication, maxes hostility, saying the doctors were exploiting the drugs, political issues? Jenna finally desperate, calling the police, their upbraiding her because of the delay, the Amber Alert? On television, the roadblocks…?
10. Max and his friendship with Nick, Nick in the camp, the Senegalese nun, Ezra tantrums, metallic cutlery, the eating with their fingers…? Nick, support for Max?
11. The journey, Ezra and his reactions, returning to his roots, police cordoned, driving through the woods, stranded, Ezra running away, reconciliation, getting the lift, going to see Grace, who welcome, memories of the past, Ezra with Ruby, the other children, her helping him to befriend the horse and its effect on him? Running and playing? The police arriving, grease giving them the car, travelling to Los Angeles?
12. Jenna, desperate, trying to contact the grandfather, throwing stones at his house, at his work at the hotel, his finally telling her where they had gone, the drive, the attack on Nick?
13. Grandfather see father and son in the diner, relating will, talking with Max, his confession about the past and his sorrow?
14. Everybody in Los Angeles, the Jimmy Kimmel studio, the preparation for the gig, the police arriving, the Amber alert, Ezra and not wanting to be touched, the police, cuffing his father, Ezra’s attack, generally desperate?
15. The aftermath, Max on probation, working with Jenna, the school, his taking him? Possibilities for Max to accept reality, not wanting to control?
16. The credits sequence, Jimmy Kimmel, the return to the studio, the joke about being arrested, performance?