What to Watch, Gravy Boat Edition
"The Fabelmans," "White Noise," "Hold Me Tight," and other dark meat for the holidays.
A few quick pre-Thanksgiving viewing recommendations, in case the family wants to go sit in the dark of a neighborhood cineplex looking at a screen OR after youâve fully digested the turkey (or tofurkey, or turducken) and can stay awake long enough to stream something at home together. Ironically (or perhaps not), almost all of the movies debuting this week are in one way or another about family, and about the comedy-drama of defining yourself amidst a group of people who, with all the love and guilt in the world, want you to be just like them.
The big theatrical event of the holiday weekend is âThe Fabelmansâ (â â â), and how wonderfully perverse that Steven Spielbergâs memory film about growing up obsessed with movies as a way to ignore his parentsâ failing marriage is going wide on this most fractious of family holidays. I wrote about the movie after seeing it at the Toronto International Film Festival, and while I still feel that âMitzi Fabelman â meaning Leah Spielberg â is a more mercurial and problematic figure than the movie seems willing to confront,â I canât argue with the empathy and skill with which Michelle Williams (above, with Mateo Zoryon Francis-DeFord) fills in the outlines of Spielbergâs Manic Pixie Dream Mom. Itâs as smooth and emotionally plangent a trip down Freud Street as can be imagined, with a revelation of infidelity thatâs a tip of the hat to the darkroom sequence in âBlow-Up,â a moment of prize-winning ham courtesy of Judd Hirsch, and a late-inning cameo by one of our greatest filmmaking mavericks, cast as a Studio Era legend. And, sure, everybody deserves to have their family traumas brought to dramatic life via a Tony Kushner screenplay, but Spielbergâs the first to actually do it. Attention must be paid, and attention is rewarded.
âHold Me Tightâ (â â â 1/2, available as a $4.99 rental on Vudu and KinoNow) is a moodier and more oblique tale of a seemingly errant mother, but as the pieces of Mathieu Almaricâs remarkable film come together, they gather into an emotional wallop as devastating as anything Iâve seen this year. Plus, the movie stars Vicky Krieps (above), who a lot of us fell in love with in âPhantom Threadâ and who only recently has been well-served with follow-up roles. Krieps plays a woman who, in the opening scenes, abandons her husband and children and heads out on a journey of self-discovery (or self-absorption, take your pick). Almaric, a familiar French actor turned (excellent) director, keeps looping back to the family waiting patiently at home, and as the road turns beneath his heroineâs tires, an alternate narrative begins to suggest itself, hinting that her fantasy of escape may be just that. âHold Me Tightâ is a puzzle film, in other words, but one drawn with such delicacy and heartbreak that you lean in to solve the puzzle, sorting and re-sorting the filmâs emotions as they slowly piece together. Krieps also stars in this season in âCorsage,â a period film opening in a few weeks that I am apparently alone in not warming up to â Iâll give it another shot, I swear â but this is this movie that makes good on the promise of Alma in âPhantom Threadâ and that honors the deceptively placid façade Krieps maintains as an actress. Here she plays a woman, a wife, and a mother coping with the unimaginable, and only gradually does we see the stress fractures rise up through the bones of her face.
âWhite Noiseâ (â â 1/2) arrives in theaters this week ahead of its Netflix premiere on December 30; Iâll have more to say about it then, but for now this adaptation of Don DeLilloâs 1985 novel of suburban apocalypse is a thing of shreds and patches, strongest in its high-flying satire of academia â a scene of professors Adam Driver and Don Cheadle delivering dueling lectures on Hitler and Elvis is as marvelous as it was in the book â and in the panicky evacuation sequence of the movieâs centerpiece, the Airborne Toxic Event. The weakest bits concern the talky, rambling marital drama that slowly sinks the movieâs second half. (I feel compelled to report that Mrs. Movie Critic, who attended the screening with me, had the exact opposite reaction; your mileage or your marriage may vary.) Director Noah Baumbach (âA Marriage Storyâ) hasnât solved the problem of turning a celebrated literary work into a cohesive cinematic experience, but, in fairness, who has? (Feel free to comment below.) The best things in âWhite Noiseâ are the kids played by Raffey Cassidy, Sam Nivola, and May Nivola, the latter two the talented spawn of actors Alessandro Nivola and Emily Mortimer. Itâs the children who turn out to surf the filmâs tsunamis of disaster more capably than their parents and who seem unsentimentally prepared for the coming wreck that is their future. In this as in other ways, Baumbachâs âWhite Noiseâ is as much a work for our times as DeLilloâs was for his.
âThe Swimmersâ (â â â) lands on Netflix as a crowd-pleasing true-life drama of sisterly endurance; a good one to watch with older kids and/or grandparents and/or just by yourself. From my Toronto report in September: âThe 2022 TIFF opening night film is the inspirational story of Yusra and Sara Mardini, sisters who fled the disastrous war in their home country of Syria and made it all the way to the 2016 Olympics in Rio, where Yusra swam for the Refugee Olympic Team. Real-life sisters Nathalie and Manal Issa (above) are dynamic in the leads â one anxious and determined, the other reckless and pissed-off â and Sally El Hosainiâs film is at its strongest in the details of the refugeesâ road, familiar to Americans from news footage but brought to life here in all its gnawing suspense. The rest of the movie is familiar underdog sports-movie stuff, but youâll probably be so invested in the characters that youâll still get a lift.â And if you have multiple daughters at home, prepare for the filmâs themes of sibling rivalry and individuation to strike a chord and maybe result in a teary hug or two.
I canât let the holiday go without mentioning the ultimate Thanksgiving family nightmare movie: âKrishaâ (â â â 1/2, for rent on multiple platforms), from 2016, in which writer-director Trey Edward Shults proves that not only can you go home again but you can cast all your relatives in a psychodrama based on the alcoholic train wreck of an aunt who didnât live to see the movie get made. (I always say thereâs one real handful in every family and if you think yours doesnât have one, well ⌠itâs probably you.) With a lead performance of absolute fearlessness from Krisha Fairchild (above) â the filmmakerâs aunt, playing a fictional version of her own late sister â âKrishaâ is audacious, nerve-rattling, and truer to the fraught dynamic of more family gatherings than many of us would care to admit. Show it to your own extended clan when youâre ready to clear them out of the house.
Kidding! Have a happy holiday, all. Drive safely and treat each other with the love and forbearance every person deserves.
Thoughts? Comments? Donât hesitate to share the cranberry sauce.
If you enjoyed this edition of Ty Burrâs Watch List, please feel free to pass it along to friends.
If youâre not a paying subscriber and would like to sign up for additional postings and to join the discussions, hereâs how: