Three Billboards Outside Ebbing, Missouri – 8.5

Martin McDonagh channels the Coen Brothers at their best – think Fargo and No Country for Old Men – in this small-town dramedy where the stakes are small but emotions are large. Every line of dialogue is fraught and measured, delivered to perfection by Frances McDormand, Sam Rockwell, Woody Harrelson and an equally adept supporting cast. I was smiling throughout in this movie about a teenage girl who was set on fire and raped, and the juxtaposition never seemed awkward. Similarly, McDormand’s character was sympathetic and unforgivable at almost one and the same time. Like No Country, we aren’t told how the story ends, which also seems fine. There is a puzzle, though: how come the figure who must have been the rapist is cleared by the DNA evidence? If he’s not the rapist, the coincidences are just too great. McDormand, of course, is great and deserves an Oscar nod: she captures the screen just by thinking.

Step – 7.5

Although this film takes place in Baltimore, it might as well be another country, so foreign to my personal experience is the world it shows, starting with sport? competition? of “step,” which is sort of like synchronized swimmng on land. This is one of those heartwarming documentaries that gets lucky, as we follow a group of high-school steppers from the start of their senior year all the way to their first-ever win at the year-end regional contest. And the individuals singled out for attention get into colleges of their choice. My only reservation was that the “star” of the team and film, a beautiful Michael Jackson lookalike, knew she was pretty and showed it a bit much. The story of underprivileged underdogs overcoming obstacles and winning was totally formulaic, but hey, it’s a good formula.

Girls Trip – 6.9

A formulaic comedy about four old friends reuniting for a weekend on the town – in this case, EssenceFest in New Orleans – made fresh by starring four black women in an almost all-black setting, with one goofy and one out-of-it white woman as comic relief. Regina Hall was engaging as the woman who has it all, loses it all, then finds her true strength, bringing tears to my eyes, as the formula dictates. It was also refreshing – liberating? – to hear uber-bawdy lines from women, for a change.

Silence – 5

Bizarre. Sort of a Platoon directed by Akira Kurosawa. Or The Mission meets The Revenant. Or maybe Unbroken merges with The Mikado. I assume every film director has a point to make, but darn if I could figure out what Martin Scorsese was up to. It seemed to me he was condemning the role of missionaries – maybe a parable about America in Iraq? – but then why did he make the Japanese such creative torturers? (Each set of Christians got killed in a gruesomely different way.) Or just because we are Christians, were we expected to identify with Andrew Garfield and Adam Driver on their mission to Japan, whatever it was, even though they were hopeless naifs rather than potential game-changers?

The scene where Liam Neeson confronts Garfield was particularly astounding. They didn’t seem to belong in the same movie, and you wished the director had been following Neeson instead of wasting our time with Garfield’s comic-book story (viz., the scene of Garfield and the miscast Driver peeping through the bushes as their flock members were crucified). Was this a meditation on Faith? or Situational Ethics? The burning question was WWJD? Should you renounce your faith if that act will save some peasants’ lives? Or are they better off in Paradise anyway? It’s one thing to give up your life like the martyrs of old, but what if the Inquisitor changes the playbook and starts killing others in your place?

The underlying problem here is the emptiness of the Faith that Garfield is embodying. There is nothing to suggest it is in any way superior to the Buddhism (unexplained) that the Japanese prefer. In the few theological discussions presented, it seemed to me that the Inquisitor and the Neeson character had the better argument. A system of worship that grows out of a people’s culture is surely more efficacious than one imposed from an alien world. Garfield’s inability to reason, his total reliance on dogma, made him less interesting and made the movie worth watching mainly for its cinematography.

Hail, Caesar – 7.3

A thoroughly enjoyable spoof on classic Hollywood, much better than La La Land because it took itself less seriously, and had better production numbers. The Coen brothers must have had fun making it, as did George Clooney, Channing Tatum, Scarlett Johansson, et al.

Florence Foster Jenkins – 2

Unwatchable, even when desperate on a cross-country flight. And that goes for Meryl Streep, too – maybe especially.

The Handmaiden – 7

Two-thirds a good movie, as I thought we were witnessing, Rashomon-like, two different views of the same events, a chamber piece told with Asian elegance and stunning beauty. Then came chapter three, which took the beauty and trashed it, removing the mystery as well as one character’s fingers. The plot that played out made less sense than the plot I had imagined and left us feeling soiled and unsatisfied. There was, I read, a layer of political commentary involving the Japan-Korea interplay, but that was too alien for our understanding or appreciation.

Viva – 7.5

A very sweet movie about a young Cuban caught between his macho, ex-con father and his aspirations as a drag queen. There are plenty of cliches and moments of predictable melodrama, but the setting – the slums of Havana – is realistic enough that you forgive some predictabilities in this, surprisingly, Irish-made film. Most of all, the lead actor, Hector Medina, is so guileless and winning that you feel a happy ending is, realistic or not, more than deserved.

Everybody Wants Some!! – 2

This movie’s view of college life makes Animal House seem realistic. Unfortunately, where Animal House is hilarious, Everybody is just obnoxious. In the 40 minutes we watched before walking out, there wasn’t a single enjoyable, let alone amusing, moment, no one I cared about, or anything resembling a plot. The characters’ personality traits were among my least favorite. I spent my college years avoiding people like this. That all the actors appeared to be closer to 30 than college age and wore cliched outfits didn’t help. Maybe Richard Linklater was setting these baseball players (and when did baseball players become BMOCs?) up for a deserved fall as the movie wore on; or maybe he just had a bad day.

Vegas Baby – 8

Despite having no knowledge of, experience with or particular interest in the subject of in-vitro fertilization, I was hooked from the start of this documentary, and it never let go. Director Amanda Micheli skillfully mixed science, human interest, joy, sadness, ethics and economics, with just the right touches of humor for leavening to tell a story that is provocative and enlightening. I saw the movie twice and cried both times. My only disappointment was not the filmmakers’ fault but the result of the dice that a documentary has to throw: the couple that won the IVF contest and thus became one of the three personal stories the film tracked was neither attractive nor inspiring. That’s the difference between life and Hollywood.