Movies

Con man charms; friendship explored in Irish countryside

American Murderer (8/10): 101 minutes. R. Written and directed by Matthew Gentile, and “based on” the true story of Jason Derek Brown, this is a spot-on presentation of a charming con man sociopath, disturbingly played by Tom Pelphrey. Although Ryan Phillippe gives a wooden performance as an FBI agent, the film is bolstered by a terrific short appearance by Jacki Weaver as Jason’s mother.

The Banshees of Inisherin (8/10): 109 Minutes. R. Highlighted by compelling performances by Colin Farrell, Brendan Gleeson and Kerry Condon and beautiful cinematography of the bleak Irish countryside (the film was shot on location on Inishmore and Achill Island on the west coast of Ireland), this is a strange (and that’s putting it mildly), almost dark John Ford-type film with some comedy thrown in about two men in 1923 who once were friends and the violence — mostly psychological — that ensues. Back in the day, this would be a prime awards candidate. But it contains nothing woke that seems to be required in every new Hollywood film. No, it’s just an “All About Eve”-type of film about relationships with lots of talk — and I mean good talk. But because it ain’t woke, probably forget about Oscar. But it holds interest for almost two hours.

Empire of Light (8/10): 119 minutes. R. The story of a troubled woman working in a large British movie theater in the ‘80s is surprisingly engrossing. Olivia Coleman continues to prove that she is one of the best actresses extant. She is buttressed by Michael Ward, who seems to me to be the new Sidney Poitier, and Colin Firth as her lecherous boss. Written and directed by Sam Mendes, this is a winner.

Hunted (7/10): 94 minutes. R. This is yet another film based on the short story “The Most Dangerous Game,” written in 1924 by Richard Connell and published in Collier’s magazine. This is one of the better treatments as four young hoodlums are captured by an extremely wealthy British family and turned loose on their estate to be hunted down. It is entertaining, full of tension.

The Return of Tanya Tucker featuring Brandi Carlile (7/10): 108 minutes. R. I’m not sure why this is rated “R” unless it is because there is smoking and some references to drugs. But it should be PG13, at the worst. Tucker was a beautiful, immensely talented little girl, young woman and grownup woman who lived a wild life. She hadn’t recorded a song in 17 years when Grammy winner Brandi Carlile contacted her out of the blue to record a new album, and this is that story. Carlile is a beautiful and talented

At the Movies

with Tony Medley

singer/songwriter, and their bonding is poignant, even though Carlile’s constant cloying fawning attitude toward Tanya gets irritating. As it is basically the story of making the album, the film only touches on Tucker’s career in a few flashbacks, and it virtually ignores her controversial matching with 44-year-old Glen Campbell when she was 22, to its detriment. My main criticism, though, is a lack of music. There is some, but not nearly enough.

The Ticket to Paradise (4/10): 102 minutes. PG-13. It’s a shame that such beautiful scenery (supposed to be Bali but filmed in Queensland, Australia) is wasted on such a trifling, inept movie, despite a sterling performance by Kaitlyn Dever, playing the soon-to-be-married daughter of fighting divorced and disapproving parents George Clooney and Julia Roberts, whose phony laugh is still one of the most annoying things in Hollywood celluloid. This is a fruitless attempt at a screwball comedy, but writer/director Ol Parker is no Alan Dwan (1944’s “Up in Mabel’s Room,” 1945’s “Getting Gertie’s Garter,” etc.) and Clooney is definitely no Dennis O’Keefe.

Stars at Noon (3/10): 135 minutes. R. What could have been a tense thriller is greatly diminished by an ambiguous script that has Margaret Qualley, who thinks she’s a journalist, and Joe Alwyn, a mysterious businessman, being pursued in 1984 Nicaragua by — whom? The police? The army? One doesn’t know. Nor does one know why they are being pursued.

Worse, writer/director Claire Denis is hung up on huge face shots of each of her protagonists. Scene after scene is filled with just one face on screen. They are both attractive, but not that attractive. How she could take well over two hours to tell whatever she’s trying to tell is beyond me.

Stars will be out at LACMA Gala Nov. 5

Elton John is scheduled to perform at the Los Angeles County Museum of Art’s 2022 Art+Film Gala on Sat., Nov. 5.

The 11th annual star-studded event honors artist Helen Pashgian and filmmaker Park Chan-wook. Eva Chow and Leonardo DiCaprio are cochairs. The private fundraiser at LACMA raises funds for museum exhibits and programming.