The Nightingale Review: Aussie Revenge Tale Pulls No Punches

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Its instructive to point out that The Nightingale is not for the faint of heart. Theres horrific violence abound; at one point early on, a rapist violates his victim while her baby screams in his ear. But in no way is this powerhouse another treatment of male violence filtered through an exploitaive male gaze. In her second film, after 2014s haunting The Babadook, Australian writer-director Jennifer Kent creates a womans revenge tale fueled by a righteous anger at the evil men do. Theres not a whit of audience coddling. Youve been warned.

Set in the harsh 1825 Tasmanian Outback, the film stars Aisling Franciosi the Italian-Irish actress best known as Game of Thrones Lyanna Stark as Clare, a 21-year-old Irish convict. Shes been sent to this remote penal colony of Van Diemens Land and enslaved by Lieutenant Hawkins (Sam Claflin), a British officer and boot-and-polish sadist. His slow rise in the ranks is a consistent sore point. So he takes out his frustration by brutalizing those in his charge, from underlings to prisoners. That most definitely includes Claire.

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At first, Hawkins is content to make the young woman his personal songbird, given that Clare sings like a nightingale while she serves him food and drink. And then the screaming starts. Claflin, the blond dreamboat Finnick Odair in The Hunger Games series, plays this colonial monster without dropping his charm and good looks, which makes him doubly scary. Its a bold gamble of a performance that pays off. Hawkins wears a surface sanity in public; he desperately wants that promotion. And its Clares hope that the pressure will persuade him to set her free, along with her husband Aidan (Michael Sheasby), a fellow convict, and their infant daughter.

When her dream of liberation is brutally squashed, Clare vows revenge. Thats when Kent and the splendid cinematographer Radek Ladczuk (shooting in the square-shaped, old-school Academy ratio) build a historical story of vengeance that shakes you to your core. The Nightingale extends from the tale of one woman in pursuit of a male predator to a broad condemnation of a system that exploits women and the indigenous people of Tasmania, all the while detailing how their world becomes one.

Clare chases Hawkins into the wilderness on her husbands unsteady horse, her trauma often reducing her to a fevered dream state that tests her survival at every turn. As a guide, she hires an Aboriginal tracker, Billy (a superb Baykali Ganambarr), who is reluctant to work for this half-crazed, racist woman who is likely to get him killed. Ganambarr, a dancer in an extraordinary acting breakthrough, builds a character whose grudge against the British begins to match Clares own. Watching the mutual hostility between these two antagonists soften into a fragile bond gives the film a fierce hold on viewers, and Kent never loses sight of the psychological wounds that fester underneath Clares odyssey. Its a shame that she diffuses the force of her storytelling with too many false endings. But as a devastating deconstruction of the complex nature of one womans retribution, The Nightingale is peerless.

Best TV to See in September 2019: Country Music Doc, The Deuce, Walton Goggins in The Unicorn

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Remember when September was the big month for new TV programming? (Gather round, children, and let Grandpa tell you about the days when there were only three networks!) Yes, the traditional pilot season is once upon us, which means laugh-tracked comedies, curious cop shows and Lost-like mysteries are once again upon us. Also on deck: Ken Burns delves into an august tradition of American music; a documentary looks at an icons impact on sport and culture; and an under-seen triumph returns to HBO with meticulous period recreations intact. Here are the sitcoms, procedurals, and other future Ill-binge-this-once-its-on-a-streaming-service favorites hitting the tube this month.

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American Horror Story: 1984 (FX, Sep. 18th)
Jocks in crop-tops, hair several stories high, New Wave synth music on the soundtrack it must be the Eighties on Ryan Murphys unstoppable horror anthology. He pays homage to cabin-in-the-woods slasher movies with the latest season, with the summer camp setting specifying the pool of references to Sleepaway Camp and its ilk. A cast of unsuspecting, nubile teens, including Murphy regulars Emma Roberts and Billie Lourd (along with Ryan TV newcomers DeRon Horton and Olympic skier-turned-actor Gus Kenworthy), will get hacked to bits by a masked assailant, but this being American Horror Story, there has to be more to it than that. Though taut midriffs and intermittent stabbings is, to be fair, plenty.

Country Music (PBS, Sep. 15th)
Americas preeminent longform-doc historian covered jazz in 2001; now Kens Burns is turning his sights on the other purely American genre of music. Country gets the full Burns approach with a top-to-bottom account of its formation, its social import, and its legacy in the present day. With an avalanche of rare preserved footage, exhaustive research, and color commentary from such luminaries as Garth Brooks, Loretta Lynn, and Willie Nelson, Burns has accomplished another herculean feat of posterity-building. He establishes a public record of all that his chosen topic means to the people at its center joy, heartbreak, hope, and everything in between.

The Deuce, Season 3 (HBO, Sep. 9th)
David Simon and George Pelecanos porn epic jumps ahead into the Eighties for its final season, when videotape revolutionized the industry by slicing production costs. Rising director Candy (Maggie Gyllenhaal) continues to gain in legitimacy, while sleazeball brothers Vincent and Frankie Martino (James Franco and James Franco, respectively) do the opposite as their business enterprises grow shadier and shadier. Porn starlet Lori (Emily Meade) goes mainstream as a video vixen on the hair metal scene, and the cops launch a new plan to clean up Times Square once and for all at the behest of Mayor Ed Koch. Times change, buildings rise and fall, but the one constant throughout everything: Sex sells.

Diego Maradona (HBO, Sep. 24th)
Diego Maradona has a solid claim to the title of historys greatest soccer player. (Fine, fine, football player.) This documentary goes one step further to posit him as one of the most fascinating figures in all of sport, exposing the agony and ecstasy of an unparalleled talent. From his childhood in the slums of Argentina, to his rise to stardom and the frenzied media spectacle surrounding it, to later-in-life scandals involving cocaine and La Cosa Nostra, its another comprehensive portrait from director Asif Kapadia, i.e. the man behind Senna, the jaw-dropping Formula-One-champ profile, and Amy, the Oscar-winning chronicle of Amy Winehouses life and times. In other words, audiences are expecting a gooooooooooal.

Emergence (ABC, Sep. 24th)
An airplane falls out of the sky and crashes on the Peconic Bay in Long Island. Out from the smithereens crawls a girl (Alexa Skye Swinton) with no memory of who she is or where shes come from. Theres a mystery afoot, probably related to the unexplainable electrical flares and odd lights in the nighttime sky, and local police chief Jo Evans (Fargo breakout Allison Tolman) wants to be the one to unravel it. Trouble is, shes taken a shine to the young survivor and offered her a home, tying some emotional knots into her deductive efforts. Uh-oh.

Prodigal Son (Fox, Sep. 23rd)
What if Hannibal Lecter was your dad? Thats the jumping-off point for this new crime procedural, in which ex-FBI profiler Malcolm Bright (Walking Dead alum Tom Payne) returns to the job when a new serial killer appears to be copycatting the murders Malcolms father (Michael Sheen) committed years earlier. Hell have to confront his mental demons and go face-to-face with his long-estranged, homicidal pop-pop if he wants to solve the case before the killer strikes again. But Malcolm cant shake the sneaking suspicion that his father may somehow be orchestrating all this from behind bars, and more troubling still, that he may be one of the pawns.

Room 104, Season 3 (HBO, Sep. 13th)
Sam Richardson, Luke Wilson, Arturo Castro, Paul F. Tompkins, and June Squibb number among the guests checking in at HBOs anything-goes anthology series this year. The show sticks to its one guiding principle all action takes place within a single suite at a singularly strange hotel but that parameter leaves a lot of space for flights of fantasy. This seasons trailer teases a growhouse FDA bust, multiple openings of the third eye, and at least one encounter with a well-renowned monster. Oh, and lots of bloodshed. The drama appears to be drifting towards the realm of horror, a fittingly unlikely pivot for a show thats thrived on its own unpredictability.

Stumptown (ABC, Sep. 25th)
The title refers to the nickname of Portland, Oregon, the city that down-on-her-luck veteran Dex Parios (Cobie Smulders) calls home. Unemployed and deep in debt, she gets the bright idea to scrape together some scratch as a private eye, using her skills learned from the military to pay the bills and support her brother (Cole Sibus) with Down Syndrome. One lowlife at a time, she cleans up the streets and dispenses sardonic one-liners; the project hasnt strayed far from its graphic novel origins. Shes a far cry from HIMYMs Robin Sparkles, in other words.

Sunnyside (NBC, Sep. 26th)
Kal Penn draws on his background as an entertainer, a political operator, and an Indian-American man for this sitcom about the red tape wrapped around the American dream. The shows creator also leads as Garrett Modi, a former New York City councilman booted from office due to drug charges. (To think: Kumar himself, getting high!) He finds his second act in a group of immigrants preparing to take their citizenship exams; they need help getting a leg up on the test, and he needs to do something meaningful. Do you think theyll end up teaching him as much as he teaches them? Have you ever watched a half-hour television comedy before?

The Unicorn (CBS, Sep. 26th)
For the record: Series lead Walton Goggins does not portray the snow-white one-horned horse of legend in this new comedy series. Rather, his character Wade is a comparably rare phenomenon in the adult dating world: handsome, a good father, gainfully employed and, after the tragic death of his wife, single. And this sitcom picks up at the point where the widower decides to get back in the game. Yes, he may have caught the eye of every single mom within a ten-mile radius. No, hes not done processing his own grief or figured out how to introduce a new woman to his youngsters. Who doesnt pine for a weekly dose of Walty G. once more?

The Radical Kindness of Steven Universe

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The title character of Steven Universe is an adolescent boy who, over the course of the Cartoon Network series first five seasons, developed the ability to fly, to conjure an impenetrable pink shield out of thin air, to use his saliva to heal injuries short of death (and sometimes beyond), to merge his body with a friends (in an act called fusion) so they can become even stronger as one than they are side-by-side, and more. But his greatest power and the reason the show became so adored that a follow-up film, Steven Universe: The Movie, will air on Labor Day, potentially leading into future seasons is both much simpler and much more remarkable:

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Steven is kind.

The animated series, created by Adventure Time alum Rebecca Sugar, has a complicated mythology involving the Gems, an alien race of women whose leaders, the four Diamonds, want to reshape the universe into something following their very rigid and orderly caste system. Thousands of years ago, we gradually(*) find out, a Gem known as Rose Quartz (Susan Egan) formed a rebellious group called the Crystal Gems to protect life on Earth from being conquered and eradicated by the Diamonds. By the time the series begins in the present day, Rose has sacrificed herself to give birth to half-human son Steven (Zach Callison), who is raised in part by failed rock-star dad Greg (Tom Scharpling) and in part by the three surviving Crystal Gems: the enigmatically cool Garnet (Estelle), uptight Pearl (Deedee Magno Hall), and immature Amethyst (Michaela Dietz). Steven inherited Roses gem, and her powers, but his age and the human half of his DNA make them slow to emerge. So in the shows earliest adventures, Steven is a glorified mascot to the Crystal Gems, along mainly for moral support and the occasional bit of improvised pubescent boy strategy.

(*) Most episodes are 11 minutes long, and Sugar slow-plays a lot of the backstory and major arcs by focusing the start of the series (and each ensuing season) on relatively light-hearted standalone adventures. Its a seasonal structure that classic genre shows like Buffy the Vampire Slayer, Veronica Mars, and The X-Files used so well back in the day, but thats unfortunately gone out of vogue in favor of pure serialization. (When Veronica came back this summer, it told a single, eight-episode story.) As a kids show with extremely nuanced themes, Steven Universe benefits greatly from how much time it lets you marinate in Stevens world before getting to the big topics. But a newcomer wouldnt be blamed for sampling the first few episodes and dismissing it as something much sillier and more superficial than what follows.

But even after he begins mastering his inherited powers, its clear that Stevens greatest asset to the team and the most appealing part of the whole series is his fundamental decency. Its not just that he prefers nonviolent solutions when Garnet or Amethyst would be content to smash the latest monster in their path. Its that his impulse is almost always to empathize and try to help, and to see the best in everyone he meets whether seemingly villainous Gems like the smug Peridot (Shelby Rabara) or humans like shiftless doughnut-shop worker Lars (Matthew Moy). Steven wants to be friends with everyone, and wants everyone to be friends, and more often than not, he succeeds. (Think Leslie Knope, but huskier and less intense.)

Heroes who are intrinsically good can prove intimidating to storytellers who need to generate conflict. Its why most of the attempts to make a post-Christopher Reeve movie about Superman involved making him angstier, or why, before Chris Evans came along, no one believed audiences would want to watch a hero as cornily forthright as Captain America. But when it works and hoo-boy, does it work on Steven Universe, whether youre a wide-eyed kid or a cynical adult the force of their virtue shines so brightly that it can be hard to imagine wanting anything even slightly less sincere.

Stevens empathy and his knack for accepting people on their own terms proves essential for a show that presents complex ideas in a manner its young audience will appreciate. Just like Buffy once used monsters as metaphors for adolescence, Steven Universe uses the Gems to talk about a variety of LGBTQ issues (among other things). Pearls unrequited love for Rose and her resentment of both Greg and Steven for taking Rose from her is subtly but clearly established, and is something she and the guys have to work through together. Gems are only meant to fuse with others like them (Ruby with Ruby, Pearl with Pearl), which makes the Crystal Gems habit of fusing with one another an abomination to the more traditional, repressed Gems. Yet Steven is thrilled when he sees Pearl and Amethyst fuse into the giant archer Opal. And when he accidentally fuses with best friend (and mutual crush) Connie (Grace Rolek) into the glamorous, intersex Stevonnie, it becomes a story about the importance of consent, with each of them frequently checking in with the other to be sure they want to stay this way a while longer.

Its a wonderful show for many reasons, but the curiosity and warm-heartedness of Steven is the crucial one.

Steven Universe: The Movie plays less as a sequel to the series so far than a Greatest Hits collection almost a primer for newcomers, even if it wont have the same impact on them that 160 bite-sized episodes of TV had on the veterans.

The movie takes place a few years after the Season Five finale, and early on features a long expository musical number about who everyone is and how they all got happy endings when last they appeared. Then along comes a mysterious new Gem who at times resembles Bugs Bunny at his most anarchic, at others the elastically cheerful Steamboat Willie-era Mickey Mouse. Her attacks give the Crystal Gems a kind of factory reboot that erases all the emotional progress they made during the series, forcing Steven to recreate important moments from their lives to bring them back to normal.

The structure of the movie can make it feel like a rehash of things the fans all know so well. (At one point, Steven even loudly complains that he is once again having to deal with the consequences of something his mother did.) Fortunately, its a rehash accompanied by a soundtrack of terrific original songs (co-written by, among others, Chance the Rapper, Aimee Mann, and Ted Leo) performed by Steven and friends. And if Im following in Stevens footsteps and looking for the best in this follow-up to those five wonderful seasons, Id look at the movie as the start of whatever Sugar wants to do with this world next. If its meant as a conclusion, its fun but inessential. But if its the start of a new phase of an older Stevens universe, then it makes sense to travel down memory lane with frequent musical interludes before pushing onto whatever comes after the happy ending.

The first four Steven Universe seasons are streaming on Hulu, while Season Five is available On Demand. Steven Universe: The Movie premieres September 2nd at 6 p.m. on Cartoon Network.

Martin Scorseses The Irishman to Premiere at New York Film Festival

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Martin Scorseses highly anticipated new film, The Irishman, will have its world premiere at the 2019 New York Film Festival Friday, September 27th, festival organizers announced on Monday.

The Irishman is so many things: rich, funny, troubling, entertaining and, like all great movies, absolutely singular, said NYFF festival director Kent Jones, who previously worked for Scorseses World Cinema Foundation, in a statement. Its the work of masters, made with a command of the art of cinema that Ive seen very rarely in my lifetime, and it plays out at a level of subtlety and human intimacy that truly stunned me. All I can say is that the minute it was over my immediate reaction was that I wanted to watch it all over again.

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Scorsese said of the announcement, Its an incredible honor that The Irishman has been selected as the Opening Night of the New York Film Festival. I greatly admire the bold and visionary selections that the festival presents to audiences year after year. The festival is critical to bringing awareness to cinema from around the world. I am grateful to have the opportunity to premiere my new picture in New York alongside my wonderful cast and crew.

The mob drama stars Robert De Niro, Al Pacino and Joe Pesci, and is due to be released on Netflix and in select theaters later this year. Based on the nonfiction book I Heard You Paint Houses by Charles Brandt, with an adapted screenplay penned by Steven Zaillian (Schindlers List,Gangs of New York,Moneyball), the film uses state-of-the-art anti-aging digital effects to depict De Niro, Pacino and Pescis characters as up to 30 years younger.

The last time a Scorsese film was screened at the New York Film Festival was in 2011, when a work-in-progress version ofHugo premiered as a special surprise for guests.

Festival, VIP and special event passes for this years NYFF, including the screening ofThe Irishman, are on sale now; other individual screening tickets go on sale to the general public on September 8th. The festival runs September 27th through October 13th.

Brittany Runs a Marathon Review: Star Jillian Bell Goes the Extra Mile

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A fun ride, spiked with touching gravity, is not a shabby way to end the movie summer. Thanks to Jillian Bell, a comic force of nature with real dramatic chops, thats what you get in Brittany Runs a Marathon. The glorious Bell, who stole every scene she graced in 22 Jump Street, plays the title role, an aggressively upbeat twentysomething who gets a medical wake-up call about weight, high blood pressure, and Adderall addiction her body mass index is in the obese zone. Brittany barely gets by working as an usher at an Off-Broadway theater, and her lack of ambition and direction is eating away at her self-esteem. Theres a downside to being what she calls the fat sidekick to her skinny, narcissistic roommate Gretchen (Alice Lee), and its not pretty.

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Its running the 26-mile New York City Marathon that represents Brittanys impossible dream, especially since her attempt to merely jog around the block leaves her out of breath and on the verge of collapse. Still, she has a nearly year to prep and a newfound determination. Luckily, debuting director Paul Downs Colaizzo, an acclaimed playwright (Really Really) who based the film on the experiences of his own best friend (also named Brittany), doesnt build his sharply witty script for easy sitcom miracles that tie everything up in a neat Hollywood bow. Its true that Brittany creates a support team in another inexperienced runner, Seth (Micah Stock), and acid-tongued expert Catherine (Michaela Watkins), who puts them both to shame. And she does find love, of sorts, with snarky Jern (Utkarsh Ambudkar, terrific), who shares the house- and dog-sitting job she takes to pay for gym class. You just know their sniping byplay has to lead somewhere; that it doesnt follow the clich handbook is a bonus.

For Brittany and anyone who lives in the real world self-improvement is all baby steps, and the same goes for the movie, which refuses to leave Brittanys demons unexplored. Its the backsliding that gets to the roots of her self-loathing. In one stunner of a scene, Brittany boozes it up on a visit to the home of her supportive sister (Kate Arrington) and brother-in-law (Lil Rey Howery), and insults their overweight guest, a woman who is bearing the brunt of all the hate Brittany actually feels for herself. Bell and Colaizzo do it the hard way, creating a character to root for without glib shortcuts. When you cheer at the end and you will the laughs and the tears feel honest and richly earned. Yes, Brittany Runs a Marathon gets a little earnest at times, stopping just short of self-righteousness. But Bell is always there to pull us back. She is pure gold.

The Kitchen Review: Melissa McCarthys Mob Drama Is Undercooked

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Oh, what a movie The Kitchen could have been. It seems impossible to screw up a crime thriller starring Melissa McCarthy, Tiffany Haddish and Elisabeth Moss as mob wives who turn the tables on the men who done them wrong. On paper, its a great idea to have Andrea Berloff, the Oscar-nominated co-writer of Straight Outta Compton,make her feature directing debut with this adaptation of DC Vertigo comic book series by writer Ollie Masters and artist Ming Doyle.

Though the time is 1978 and the place is New Yorks Hells Kitchen then a garbage-strewn wasteland the cast of McCarthy and Haddish leads us to expect comic mayhem. But except for a stray smile or two, the laughs never come. The Kitchen is deadly serious and worse, deadly dull, even when it tries to act tough by laying on the violence and a heaping side of gore.

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Kathy Brennan (McCarthy), Ruby OCarroll (Haddish) and Claire Walsh (Moss) are left at mercy of the Irish mob when their husbands are sentenced to three years in the pen. Claire doesnt miss Rob (Jeremy Bobb) who beats and rapes her. Ruby hated the fact that her husband, Kevin (James Badge Dale), let his racist mother (the ever-superb Margo Martindale) goad her with insults about going back to Harlem. But Kathy still has a soft spot for Jimmy (Brian dArcy James), the father of their two children.

When local mob boss Little Jackie (Myk Watford) refuses to support the wives as promised, the women spring into action. Though the premise recallsSteve McQueens 2018 Widows, in which newly-solo mob wives also decide to do it for themselves, any resemblance vanishes when it dawns that Widows was a solid film and The Kitchen is built on quicksand. As staged, the scenes in which Kathy, Ruby and Claire presumably convince hardened street types to quake in their boots when they bark orders and fire guns have the impact of children playacting. Could these three dynamos have pulled off the trick with better writing and guidance? Well never know. Haddish seems uncomfortable with her humor valve shut off, and McCarthy fails to build the emotional resonance she displayed in her Oscar-nominated role in Can You Ever Forgive Me. Moss fares best, as Claire comes into her own and finds love with Gabriel (Domhnall Gleeson), a protective hitman who teaches her how to dispose of bodies by cutting them up in a bathtub and dumping the pieces in the Hudson. You may not buy Moss as the butcher of Broadway, but she commits totally to the role.

In the final section of the film, Berloff and the actors aim for tragedy, but the film self-destructs from its own mixed messages. The women want to murder bad buysand also improve the neighborhood. Huh? Things get worse when the husbands are released from jail and come home to take back their power, each looking thoroughly ridiculous in the process. There should be a catharsis in watching predatory men get theirs. But since theyre never developed as real characters, the pathos falls flat. The Kitchenstrains credulity past the breaking point and goes disastrously off the rails, leaving its trio of femme powerhouseses looking as adrift and confused as the audience. Very little in The Kitchen is funny, but the movie itself is definitely a joke on anyone who buys a ticket.

Aquarela Review: The Shape of Water, Indeed

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Shot in high definition at 96 frames per second though most theaters will only be able to show it at 48 fps this eyepopper from Russian director-writer-cinematographer-editor Victor Kossakovsky (Vivan Las Antpodas!) is like nothing youve ever seen. His free-form documentary on water opens by scaring us to death. The scene is on frozen Lake Baikal in Siberia, in which cars are shown cracking through the ice, while a rescue team labors to save a driver and passenger. Its a showstopping sequence that reminds you how, when it comes to raging H2O, human beings are unfit opponents.

Kossakovsky and his fellow camera virtuoso Ben Bernhard capture sights that blur the line between reality and fantasy. The filmmakers show water in all its raw beauty, but also as a malevolent force. If you want to know what its like to ride Hurricane Irma as it pummels Miami, youll find out here. And Eicca Toppinens immersive, intrusive heavy-metal score wont calm your nerves nor, for that matter, will natures own crashing, thrashing sound design. Sure, the doc eventually treats us to the serene majesty of a rainbow over Angel Falls in Venezuela. But as the cameras travel through places as far-flung as Scotland, Mexico, Portugal and Greenland, theres no losing the awareness of a larger, far more imposing climate-based threat.

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Aquarela has no use for charts, grafs, voiceover narration or other contexual shortcuts. What you see is what you get, and that includes glaciers breaking apart leaving chunks of ice ready to rip. Theres no doubt who is starring in this movie when we watch a raging storm overtake a single woman piloting a sailboat. Whether the subject is taking the form of surging waves or making us believe its about to swallow up the cameras themselves, the documentary is a warning that insists attention must be paid. Itd be a calamitous mistake not to listen.