Life, Animated

Nominated for Best Documentary Feature at the 89th Annual Academy Awards

Like quite a few Oscar-nominated releases I’ve experienced of late, this documentary is a wonderful and interesting story, that nevertheless suffers from a few issues in its execution. However, “Life, Animated” does have a ringer, in the fascinating centerpiece personage of Owen Suskind. The now twentysomething Owen, was diagnosed with autism at the age of three, and withdrew into a mostly silent world, that cut off almost all communication with his distraught parents, and older brother. But then–a breakthrough happens. Owen’s father, Ron (a journalist, who wrote this, as well as the book that it’s based on), discovers that his son is finding ways to communicate through dialogue he’s heard in the Disney cartoon features that are always playing in the house. As he gets older, this connection to the animated movies is strongly promoted, and Owen is able to converse increasingly dexterously through the Disney screenplays that he’s committed to memory verbatim. It opens Owen up to the point where he is on the verge of living “on his own” in a supervised community. But some pitfalls do occur.

Roger Ross Williams has already won a documentary short subject Academy Award for 2010’s “Music by Prudence”, and he directs “Life, Animated” with a sure hand. However, there are some dramatic lulls present, especially regarding the employing of inserted animated samplings, that are meant to represent Owen’s thought process. I found them to be flamboyant flourishes that don’t quite work, but they certainly pad that running time to feature-length. Was that the intention? Plus, as if Disney needed another boon to its profit margin, multiple classic, animated features are frequently sampled. Owen’s journey becomes well-known enough over time, that we are treated to Jonathan Freeman and Gilbert Gottfried, from the “Aladdin” vocal cast, making an appearance at Mr. Suskind’s Disney viewing club gatherings, for people with autism. At one point Owen is called upon to make a speech in Paris, and the scenario is handled beautifully. It smartly avoids an over-reliance on sentimentality. So, despite the occasional misstep, “Life, Animated” is a worthwhile odyssey through the mind of a young, inspirational man.

Grade:  B

A Man Called Ove

Nominated for Best Foreign Language Film (Sweden) at the 89th Annual Academy Awards

Nominated for Best Makeup and Hairstyling at the 89th Annual Academy Awards

Ugh. File under the “irascible old man loses a loved one, and then is forced to find joy again when kids move into his neighborhood” section. Honestly, the foreign films come Oscar time, are getting just as weepy and sentimental as the American nominees. No easy feat. There are some worthy things in this film to make it borderline recommendable. But on any given day, I may have been too cranky to even bestow that much leeway. Believe me, there are no real surprises or revelations in this Swedish import with English subtitles. It simply connects the dots from ‘A’ to ‘B’ to ‘C’ and so on.  And did I say there are cute kids?

Ove (Rolf Lassgard…strong) is a 59-year-old recently widowed man, living in a townhouse complex. He’s also worked at a railroad job for decades, and he’s just been removed from his position too. Depressed, lonely, and suicidal, Ove still lords over his gated community as the appointed prefect. You see, grumpy, crusty Ove, has a reputation for being a stickler for the rules. So, when a young couple with children move next door, his various attempts at taking his own life are thwarted, as he comes out of his funk long enough to battle to enforce the association’s strict codes. Along the way, we experience flashbacks to a younger Ove (a very good Filip Berg), and his eventual romance with his charming wife, Sonja (Ida Engvoll).

This film was directed and written by Hannes Holm, and it’s based on Fredrik Backman’s popular book of the same name. I see no reason to ever read that book. The acting saves this just a bit, with the fine performances from all the aforementioned principals, as well as Bahar Pars and Chatarina Larsson, among others. Also, Ove’s attempts to snuff out his existence are played as black comedy, and it occasionally becomes poignant. Other than that it’s the sweet, life-affirming, comfort cinema that your eccentric grandmother sends all of her friends to. You’ll have no doubt from the get-go, that Ove will soften. The biggest conflict the movie takes on, is the civil war of Volvo vs. Saab. Ove declares the winner there, but I won’t ruin it for you. Pleasant enough at times, “A Man Called Ove” plays it much too safe.

Grade:  C+

Jim: The James Foley Story

Nominated for Best Original Song (“The Empty Chair”) at the 89th Annual Academy Awards

This is a very tricky area for a film critic. What to say about a man, who performs so heroically in a variety of ways, and ultimately dies a horrific death at the hands of ISIS terrorists? In no way would I even begin to disparage the life, the work, or the actions of James Foley. He suffered the unimaginable, and appears to have been a very much loved, and quite interesting young man. And, therein lies the issue, because the filmmakers are way too close to the subject at hand. For instance, first-time feature filmmaker Brian Oakes, is a childhood pal of the late Mr. Foley. This allowed apparently unlimited access to Foley’s family, friends, and associates. But it also seems to have assisted in tipping that line from biography into hagiography. Hey, maybe James Foley indeed was an all-around fantastic guy. I don’t doubt it. But I would’ve loved to learn more about what made him tick, and theories on just why he made some of the dangerous choices he made. I also found the overuse of recreations in the documentary’s latter half to be an almost fatal flaw. Throw in a now Academy Award-nominated song, co-written and performed by Sting, and the Oscar-baiting devices all appear to be in full swing. I’m glad that this story of a conflict journalist being captured in war-torn Syria, and then horrifically being slaughtered for his passions (note: there is a video of Mr. Foley’s execution…but it is not shown in the film) exists. Especially considering our current political climate. But a more complex approach, from a more experienced director, would have helped paint a more unforgettable picture. And a little trimming of the 111-minute running time wouldn’t have hurt either. All that being said–much respect to the memory of Mr. Foley, and his family.

Grade:  B-

Lion

Nominated for Best Picture at the 89th Annual Academy Awards

Nominated for Best Adapted Screenplay (Luke Davies) at the 89th Annual Academy Awards

Nominated for Best Supporting Actress (Nicole Kidman) at the 89th Annual Academy Awards

Nominated for Best Supporting Actor (Dev Patel) at the 89th Annual Academy Awards

Nominated for Best Cinematography (Greig Fraser) at the 89th Annual Academy Awards

Nominated for Best Original Score at the 89th Annual Academy Awards

Honestly, I haven’t known quite what to make of the hit art film “Lion” ever since first experiencing it recently. After all, I’m not made of stone, and I do have a heart. “Lion” certainly has an emotional finale that promotes tears. I’m not immune…Mark Leonard cried. HOWEVER–couldn’t first-time feature director Garth Davis, and screenwriter Luke Davies, figure out something more interesting for the movie’s slog of a 2nd half? I mean, the last hour plays like a commercial for Google Maps! And let’s not fall into the convenience of the “based on a true story” trap. Stories based on non-fiction are often riddled with untruths. See: “Argo”. Maybe “Lion” isn’t dishonest…I don’t know. But what I DO know, is that after a fine start, we end up with a muddled latter portion that’s stuffed with all the big movie stars. Often, less is more.

Five-year-old Saroo (adorable Sunny Pawar) accompanies older brother Guddu (Abhishek Bharate) to a train station in India, so they can scrounge for money to bring home to their mother and siblings. Guddu initially shows resistance to bringing Saroo, because of his tender age. When Saroo eventually gets too tired, Guddu leaves him to sleep on a station bench, and says he’ll return for him soon. When Saroo awakens, Guddu is nowhere to be found. Saroo’s wanderings to locate his big brother get him into a variety of mishaps, including attempted abduction. This after riding a train that deposits him far from home. Eventually ending up in an orphanage, he is adopted by an Australian couple. Sue (Nicole Kidman) and John Brierley (David Wenham) raise Saroo to young adulthood in Tasmania. A now grownup Saroo (a solid Dev Patel) decides to study hotel management in Melbourne, where he begins dating American student, Lucy (Rooney Mara, in a thankless role). Soon, Saroo begins searching for his biological family, and tries to track his poverty-stricken past.

Again–I get it. This story is wonderful and heartbreaking in many ways. I’ll bet the book that it’s based on (“A Long Way Home” by Saroo Brierley with Larry Buttrose) is a captivating read. It’s the execution of the film that irks me. Garth Davis didn’t have the finesse to make the transition of the two halves a smooth one. The last hour is often leaden. Dev Patel is actually fine as the adult Saroo, but I’m still pondering what Nicole Kidman was trying to convey with her off-key performance. It showed a usually strong actress making unconvincing choices. Plus, I found myself angered by the throwaway role given to the perpetually excellent Rooney Mara. Her scenes with Patel were filled with predictable dialogue and clichéd scenarios. Of course, things perk up a bit for the sentimental finale. Listen, I love the tale of this odyssey. But its cinematic handling needed more experienced hands at the controls. Still…not without merit.

Grade:  C+

Captain Fantastic

Nominated for Best Actor (Viggo Mortensen) at the 89th Annual Academy Awards

“Captain Fantastic” is infectious. It reminded me of the “Wilderness Family” movies I attended as a boy. Remember those? It was a trilogy from the 1970’s, about a family that ran away from life in the polluted, capitalistic, big city, and escaped to living in the tranquility of the wild. In retrospect, they probably weren’t very good films. But (at least), the first one was a pretty sizable box office hit. It captured something that audiences may have been longing for in 1975. “Captain Fantastic” finds that same feeling. But it’s also grittier, better written, and showcases some wonderful performances. And it ain’t just Viggo!

Ben Cash (a very charismatic Mr. Mortensen) is fed up with polluted, materialistic American Life, so retreats to the Washington wilderness with his wife and six children–and lives off of the land. The kids are all home-schooled, athletic, creative, and taught survival techniques. But upon the sudden death of their mother, they are beckoned back into society upon word that their grandfather Jack (Frank Langella, making the most of playing the “heavy”), has planned a funeral for his daughter, that goes against their late mother’s wishes. So, Ben and his clan, venture to stop Jack–even after he threatens to have Ben arrested.

Mr. Mortensen finds just the right rhythm here, for his character Ben, and I’m certain that his ease in displaying that so confidently is what landed him an Oscar nomination. Also quite fine is George MacKay, as eldest son Bo. Mr. MacKay’s quirks and mannerisms as a socially inept young adult, trapped between two worlds, are wonderfully effective. Matt Ross provides strong, uncluttered direction, even when his screenplay makes the expected turn into sentimentality. The film suffers a little bit from that eventuality…but it hardly spirals out of control. “Captain Fantastic” is a solid film, made better by some superb performances. I highly recommend it for that, as well as for its emotional honesty.

Grade:  B+

Kubo and the Two Strings

Nominated for Best Animated Feature at the 89th Annual Academy Awards

Nominated for Best Visual Effects at the 89th Annual Academy Awards

Travis Knight makes his directorial debut for Laika with “Kubo and the Two Strings”. Mr. Knight has worked as an animator on all of their features (“Coraline”, “ParaNorman”, and “The Boxtrolls”, before this), and has produced the last three. But wow, has he come into his own as the director of this marvelous stop-motion adventure film. I’m only catching up with it now, because the studio dumped it in the August wasteland, and I didn’t even realize it was from the Laika folks until it was too late. I slip up occasionally. I’m hoping to catch “Kubo” in 3D in my 2nd experience with it. It is so visually impressive, and I would bet the 3D only enhances that. It’s also thematically rich, a bit scary and melancholy, and a bit too intense for my 9-year-old son. Just a fair warning, out of concern for the more sensitive little ones.

On its most basic level, “Kubo” is the journey of a young boy trying to locate a magical armor to conquer some malevolent forces. 14-year-old Art Parkinson voices the title character, plus there’s wonderful vocal work from Charlize Theron, Ralph Fiennes. Rooney Mara, Matthew McConaughey, and George Takei. Well, at least we have Mr. Takei, to lend some authentic flavor to a tale that originates in ancient Japan. And there are flamboyant dollops of the macabre, involving a giant skeleton guardian, evil spirit aunts, missing parents, the Moon King, as well as locations called “Hall of Bones” and “Garden of Eyes”. I love the worlds that Laika creates, and “Kubo” is their best outing of the quartet, since their “Coraline” debut. Strikingly beautiful, deeply emotional, and with a soundtrack that includes “While My Guitar Gently Weeps”, this animated feature flirts with greatness.

Grade:  A-

The Ten Best Films of 2016

A lot of bad movies are going to win Oscars this year. In fact, if you asked me to place my money today, I would bet that the Best Actor, Actress, Director, Supporting Actress, Original Screenplay and Best Picture categories, are going to sport victors from films that are mediocre…or outright terrible. At this point, I’m counting on one very good film to grab the awards for Supporting Actor and Adapted Screenplay. Yet things were looking so promising just a few weeks ago–so, what happened?! Well, the rise of a tepid musical (which seems unstoppable as of today), and the fall from grace of an actor based on harassment allegations (which now seems destined to shut the film out). So, there you have it.

Don’t get me wrong–there are some damn good movies up for Best Picture this year. Two of them grace my Top Ten, and another deuce resides in the honorable mention listing. However, 4 out of the 9 don’t belong anywhere near a grouping of the “year’s best”. Plus, I have yet to see “Hacksaw Ridge”, which I understand is pretty darn strong. I believe it, and I intend to view it BEFORE the big show later this month. That it was directed by a proven anti-Semite doesn’t appear to bother the nominating committee or the public-at-large, but the unproven accusations against the aforementioned performer do. Selective outrage? Probably. Whatever. Maybe Casey’s a real jerk. But he gave my favorite performance of the year in the very best film of the year. So, it’s a conundrum.

The screen shot above this story is not my #1 film of 2016–but it was close. The February release impressed me immediately and did some respectable box office. Most critics applauded it too. But it had one of the worst CinemaScore ratings I’ve ever seen. Audiences loved the trailers, bought tickets for the movie–and despised it. Taste. Patience. Thinking outside the box. Must…fight…diatribe. But it’s so obviously true. It gets worse every year. I blame laziness and lack of artistic curiosity. In fact, I’m certain that, at least, two of my Top Ten would send some scampering out of the theater. But my list also contains the biggest hit of 2016! I took some flack on the America Weekend (77 cities, at last count!) national radio show last year for not including its percrusor. This time is different. This one is better. Must have been some kind of force.

So, when “La La Land”  wins Best Picture later this month, I won’t be surprised. Even though, it’s empty posturing. That number pictured above from “Hail, Caesar!” is superior to anything in Damien Chazelle’s latest. Plus, “La La” has received some push back as of late. It won’t be enough though–it’ll win. 64 films this year (only 16 in an actual theater…thank you FYC screeners!), after last year’s torrid pace of 78. Had to take a step back and eliminate some of the garbage…the 2015 season was exhausting. At least nothing as bad as “Terminator 5” in 2016, though. I’m also so pleased that the nominations were more diverse this season. Unfortunately, that meant that a bunch of films starring  African-Americans were just as bad as some of last year’s crop that were sans people of color. You see…mediocrity knows no race. But congratulations to all of the fine black actors…at least two of which I will be rooting for very strongly. Btw, I wish I had seen Martin Scorsese’s “Silence” in time for this compilation, as well as Jim Jarmusch’s “Paterson”. But a deadline is a deadline is a deadline. I believe you’ll agree that it’s a wildly diverse crowd of motion pictures presented here. With more than a few surprises. Let’s get on with it then.

My #1 slot goes to a devastating meditation, from one of our finest interpreters of the human condition. #2 contains necrophilia and cannibalism…and I couldn’t take my eyes off of its seductive vampires (they’re not that, btw…but they are). #3 truly understands old Hollywood. #4 will have you questioning the role of time. #5 showed me another view, of a familiar tragedy. #6 somehow got an Oscar nom for its marvelous screenplay–Yay! #7 is from a director I wish more people were aware of. #8 was a Best Foreign Film nominee from last year, that didn’t see proper release until this year (plus, it should’ve won). #9 is a period piece that could be the director’s finest (all corsets and frilly hats…I saw it on Father’s Day.). And the #10 spot goes to a franchise release that is the best of its kind since 1980. The Ten Best Films of 2016 are:

1. Manchester by the Sea

2. The Neon Demon

3. Hail, Caesar!

4. Arrival

5. Jackie

6. The Lobster

7. Green Room

8. Embrace of the Serpent

9. Love & Friendship

10. Rogue One: A Star Wars Story

Honorable Mention

13TH & Weiner

Don’t Breathe

Loving & Midnight Special

The Fits

Blair Witch & The Witch

Hell or High Water

Maggie’s Plan & 20th Century Women

Kubo and the Two Strings

The Nice Guys & 10 Cloverfield Lane

Moonlight

The Worst of the Year

Fences (overwrought & mishandled)

Ghostbusters (dancing disorganized distaff)

The Girl on the Train (tawdry & Blunt)

Hidden Figures (cartoonish caricatures)

Knight of Cups (Malick muddle)

La La Land (don’t be afraid to say it)

Suicide Squad (formless & endless)

KUBRICK @Feature #4: 1957’s Paths of Glory

This was the one that cemented Stanley’s trajectory. I watched it again last week, on a Netflix issued DVD. Not the new Criterion Blu-ray, as I had hoped. Was this only the 2nd time I’ve experienced “Paths of Glory”? I believe so. And the first was probably a copy I taped via VHS off of TCM, or something like that, sometime in the previous century. After the fumbling of “Fear and Desire”, the gaining footing of “Killer’s Kiss”, and the critical acceptance of “The Killing”, “Paths of Glory” truly opened doors. How so? Well, it led him to “Spartacus”, and a big-budget, box office success. Thanks Kirk! However, it’s this one that is the truly brilliant film. Just about everything about it is top-notch.

What a shock to the system, the plot of “Paths of Glory” is. The political corruption, the behind-the-scenes wheeling and dealing, that leads to the unjust execution order, for 3 completely innocent men. Kirk Douglas is our voice of reason Colonel Dax, defending Ralph Meeker’s Corporal Paris, Joe Turkel’s Private Arnaud, and Timothy Carey’s Private Ferol. I mean, I guess we can quibble about these distinctly American actors, playing French soldiers during a WW I battle against the Germans. But it is what it is. Sixty years ago, this kind of stuff was common practice. So, I’m certainly not going to focus on that.

“Paths of Glory” has a distinct anti-war slant, and it took some flack for that in 1957. The “anti-war” label used to confuse me a young man. “You mean SOME films are pro-war?”. Of course, I get it now…even if it’s still somewhat bewildering. 1957 was also the year of “The Bridge on the River Kwai”, which grabbed 7 Oscars, and did boffo box office. I wonder which one would hold up better today? Having not watched David Lean’s epic in quite a while, I can only be certain of the following. “Paths of Glory” delivers at least as much impact in about half the running time.

I knew how “Paths of Glory” would end, but this viewing was still compulsively watchable. In fact, I only intended to roll about half of it when I popped it in days ago, but I couldn’t turn it off. And those trench scenes are classic Kubrick. So powerful, so claustrophobic–a recurring theme throughout Stanley’s career. There was no doubt in my mind that I had to use a “trenches” screen shot to head this remembrance. The purposeful walks of Colonel Dax, and George Macready’s flawed, ambitious, and ultimately evil General Paul Mireau, comprising a dichotomy of justice and perversion. We despise Mireau, as we also hate the drunken Lieutenant Roget from an excellent Wayne Morris. Both men could’ve stopped the madness, but only Roget is given any sort of shot at redemption.

And oh, the sleazy countenance of Adolphe Menjou as Major General Georges Broulard. How you love to hate this man, despite his outward ebullience and gregariousness. Or maybe because of it. I suppose we could also find fault in the wildly diverse representations of the condemned men. But again…standard operating procedure. Plus, all three actors are exceptional. Of course, the striking battle scenes, while limited, are still among the best of their kind. You’ll hear it AND feel it. This completely unnecessary suicide mission, leading to a concocted punishment to “scold” the troops to NEVER exhibit weakness again.

There’s stunning black-and-white cinematography from Georg Krause, and Gerald Fried would supply music for a Kubrick film for the fourth, and final, time. Much has been made over the years, of the final scene of young Christiane Harlan (she would later become, Christiane Kubrick), portraying a captured German girl, being forced to perform a sentimental song before a group of drunken French soldiers in a saloon. Indeed, it is this very epilogue, that pushes “Paths of Glory” into its legendary status. It carries an unquestionable power, as mysterious as it is palpable. Kubrick was almost there with 1956’s “The Killing”, but “Paths of Glory” is the true first masterpiece. More would follow.

Grade:  A

KUBRICK coming in February: the roll of eight has been cast, and the winner is 1968’s iconic “2001: A Space Odyssey”. That’s right–the ONE. I can barely stand the wait.

Rogue One: A Star Wars Story

Nominated for Best Sound Mixing at the 89th Annual Academy Awards

Nominated for Best Visual Effects at the 89th Annual Academy Awards

The geek pleasure was palpable for me this time. I can’t say the same for last year. Of course, by last year I’m referring to 2015’s long-awaited “Star Wars: The Force Awakens”. “Nostalgia porn”, I called it. “Remake of the first one”, I said. I did enjoy “The Force Awakens”, but I felt it seriously faltered in the 2nd half. Not fatally, just noticeably. And now, being that we live in a world with a “Star Wars” film every year, I felt we all deserved better. Well…here it is. “Rogue One: A Star Wars Story” is better. And much more exciting too. Sure there’s nostalgia porn here, as well–but it doesn’t rely on it. The world it creates is its own, and its characters are mostly new, diverse, and meaningful. That being said, “Rogue One” also serves up the greatest Darth Vader action scene ever. I ate up every glorious second of it. Wow.

This is a “Star Wars” prequel, set immediately before “A New Hope” (oh, how I hate to call the 1977 film that). The Death Star is present, we briefly witness lots of familiar characters throughout, plus there’s the already legendary digital return of a character that was played by Peter Cushing in 1977. And Grand Moff Tarkin is still played by Peter Cushing, even though he died in 1994. It’s an almost seamless special effect, with actor Guy Henry standing in, with Mr. Cushing’s likeness superimposed. There’s one other significant recreation by the end of the film too, using the same technique. But it’s the new characters that truly impress. Felicity Jones is Jyn Erso. Diego Luna is Cassian Andor. Donnie Yen is Chirrut Imwe. Riz Ahmed is Bodhi Rook. Forest Whitaker is Saw Gerrera. It’s a marvelously eclectic cast representing various ethnic and cultural backgrounds. In other words…it’s like life really is.

I don’t want to give a plot description for a “Star Wars” franchise release, because the vast majority of moviegoers don’t want to read any of that. They just want to experience it BIG and LOUD. I also don’t want to harp on the racial diversity too much, because that’s a powder keg if you go too far. I’m just so pleased that it is what it is. And the last 40 minutes of “Rogue One” is spectacular. And earned. Resonant. I loved the debut feature of Gareth Edwards called “Monsters”. That film made my Top Ten in 2010, and had me all pumped up for his “Godzilla” reboot in 2014. I had mixed feelings about that sophomore effort, but I admired a good deal of it. But “Rogue One” exhibits the powers that I sensed in Mr. Edwards upon that impressive debut. THIS is the “Star Wars” movie that I was hoping for roughly a year ago. It’s the best since “Empire”. Imagine that. They did it. What a thrill it is!

Grade:  A-

Manchester by the Sea

Nominated for Best Picture at the 89th Annual Academy Awards

Nominated for Best Actor (Casey Affleck) at the 89th Annual Academy Awards

Nominated for Best Supporting Actor (Lucas Hedges) at the 89th Annual Academy Awards

Nominated for Best Supporting Actress (Michelle Williams) at the 89th Annual Academy Awards

Nominated for Best Director (Kenneth Lonergan) at the 89th Annual Academy Awards

Nominated for Best Screenplay (Kenneth Lonergan) at the 89th Annual Academy Awards

 

Kenneth Lonergan is a great writer. I knew this when I called his “You Can Count On Me”, the 2nd best film of the year 2000, and then realized later that it should’ve held the top slot. I also slightly underestimated his troubled “Margaret” a few years back. Repeat looks forced me to realize how truly special it is. But I was ready for him this time, upon the occasion of Mr. Lonergan’s 3rd official feature as screenwriter and director. And “Manchester by the Sea” is brilliant. Quite possibly, it’s my favorite film of 2016. So, I believe that it’s time we officially label Lonergan a great director too. It’s only just.

Lee Chandler (an amazing Casey Affleck…Oscar calling!) is introduced as a humble janitor, living meagerly in a small, New England town. But he’s unexpectedly called back to his hometown of Manchester-by-the-Sea, after receiving a message about a family tragedy. Upon arriving there, Lee goes to find his nephew Patrick (Lucas Hedges is splendid), and informs him of the unfortunate happening. Take note, that the film uses a device involving seamless flashbacks, and the viewer is required to shift time more than once. So, when we meet Lee’s wife, Randi (Michelle Williams, always strong), knowing that he’s currently single, we start to wonder if there’s a hidden family tragedy too. There is–and it’s shattering.

Mr. Lonergan has a keen sense for how people speak and behave, and Mr. Affleck proves to be the perfect interpreter of his prose here. I already knew he was a gifted actor, upon his previous Oscar nomination (for 2007’s extraordinary “The Assassination of Jesse James by the Coward Robert Ford”). But this is Affleck’s true arrival. His tortured Lee is a mesmerizing, uncompromising creation. Mr. Lonergan knew exactly how much finesse and patience to employ here. The quietude and ennui are staggering. Young Lucas Hedges is quite adroit as teenage Patrick, and Kyle Chandler is superb as Lee’s older brother, Joe. And Michelle Wiliams never misses a beat in her brief scenes, her final one obviously the Oscar showcase. Lonergan regular Matthew Broderick appears as well, in a film that languors in its silences, respects its actors immensely, and manages to be perfectly dignified, and marvelously unpredictable, in its search through a tortured life. Or lives rather. “Manchester” is unmissable.

Grade:  A