Spotlight: This is a nicely done, tight movie about the Boston Globe investigation that brought to national consciousness the abuse of children by Catholic priests and the systemic attempt by the church and their sympathizers to cover it up. The story is nearly all journalism, with small bits here and there about the lives of the reporters, but not much, really.
The natural comparison is to 1976's All the President's Men, which is unfair. The earlier movie was a far better movie, not only because it came first and had Robert Redford and Dustin Hoffman at their peaks, but because the story of Watergate was a completely unknown story that had to be revealed from scratch. The various pieces of the priests' abuse stories were actually known - buried on pages 27 here and there in different papers. A lot of the journalism was just putting together these stories and finding a pattern.
But still, this is a very good movie. There are no re-enactments or fights or anything, just a journalism arc and the resistance from the community and the church. Well worth a watch.
Hail Caesar!: Behind the scenes at a Hollywood studio in the 1950s, a "fix it" man has to attend to problems as they occur. I went into this movie knowing it was a Coen Brothers movie, and resigned to that fact, but it turned out to be even more so. I'm not a fan; I liked Fargo a lot, tolerated The Big Lebowski, and couldn't be bothered to finish any of the others.
This movie is basically a comedy, except it's not funny. Well, it's almost funny in a few offbeat ways. It's a "send up" of 1950's behind the scenes Hollywood. The scenes of dancing sailors that seem kind of "gay" to us now are redone by "gay" actors, which they probably were, anyway. A giant statue that is supposed to look impressive doesn't look impressive when only its bottom half is extant. The only real communist is the only non-Marxist. A British director can't get a southern guy to speak a line without sounding like a southerner. It's supposed to be funny, but I stared and yawned the entire movie, waiting to see something that impressed me. There was no drama, no tension, and no real interest in how it would end.
I can only say that the movie is undoubtedly, frame for frame, exactly what the Coen brothers intended it to be, some kind of perfectly shot directorial exercise in self-indulgent narcissism that will appeal to Coen brothers fans and just about no one else.
Brooklyn: This is a mildly flawed but otherwise beautiful dreamy movie, also about the 1950s but worlds away from the above Hail Caesar! In this movie, a young Irish woman, Eilis (Saoirse Ronan), leaves her small gossipy town, mother, sister, best friend, and not much else for work in a department store in Brooklyn, where she lives with and among many other Irish who have come to do the same. She starts off homesick, meets a lovely, uneducated, but hard working Italian man Tony (Emory Cohen (a Russian Jew?)), and then has to go back to Ireland to visit her mother where she rediscovers the beautiful country she forgot and finds opportunities that she hadn't had before she left. Will she stay in Ireland or go back to Brooklyn and her Italian fellow?
The filming is beautiful, as is the acting and directing. I loved the clothes, all of them, from the cable-knit sweaters and green overcoats of Ireland to the print dresses, skirts and bobby socks of Brooklyn. And those sunglasses! The central drama is not one we see in movies too often, and it was laid out pretty well: personal love vs love of country. The movie takes its time showing how the characters develop and, at least in Eilis' case, the development was satisfying. Actually the movie starts off fairly slowly, but I was captivated from the moment that Jessica Pare showed up, and enthralled from the moment the guy started singing at the church.
And now here be the problems and spoilers, but don't let it worry you: this kind of movie is seen for the experience of the acting and period costumes, and the heartfelt choices that have the heroine in tears for nearly half of her time on screen.
One problem is that Tony is perfect (other than being uneducated), a true gentleman so well-mannered and hard working that he is hard to believe. But the main problem is that Tony and Eilis marry before Eilis returns to Ireland. She hides this fact from everyone in Ireland. The cover up is supposed to add something to the tension, but it didn't make any sense to me. Yes, I believe that Tony would WANT to marry her before she returns for her "visit" to Ireland, in fear that she may not return. But the movie shouldn't have let it happen. If they had remained engaged, then there would have been believable tension: I could have believed that she might end the engagement to stay in Ireland. But once she was married - and she is Irish Catholic - there is no way that she is going to fall in love with an Irish guy and stay in Ireland. And it was pretty sucky of her to string an Irish guy along for five weeks and then suddenly say "Hey, I'm married! Sorry!" So the ending was forgone, although, given the screenplay, the process in getting there was as well done as could have been.
Mistress America: I'm beginning to think that Greta Gerwig isn't capable of playing more than one character: quirky and self-deluded. That's her here, to a T, just as she was in Frances Ha, basically playing the same character. She plays Brooke, and her foil is freshman in New York Tracy (Lola Kirke), her soon-to-be step-sister and straight girl to dazzle with her free-thinking, half-formed, enthusiastic and obviously doomed projects.
The group takes a trip to Connecticut to get money for a restaurant that will never happen, and they spend an hour or so in a house where odd people come in and out and motives are questioned in a Neil Simon-like manner. It is cute and diverting, in the way that Frances Ha was, and it's fun to watch, but ultimately doesn't add up to much.
Carol: This is a well-shot and acted movie about a lesbian relationship, also in the 1950's. The movie reminds us of the great difficulties that such relationships had to - and occasionally still have to - endure: sham marriages, secret encounters, charges of depravity, and threats of losing one's children.
The movie is based on an important book, one of the first to portray a lesbian relationship that might in fact end happily. Unfortunately, the story is dated; it is a somewhat insignificant story, unless one keeps in mind its significance. Our society is hardly shocked to hear about either lesbianism or the adverse reactions to it. You can try to forget that and enjoy the fine acting and filmography.