Tag Archives: Bobby Cannavale

Amazon’s Homecoming

Amazon Prime hits it out of the park yet again with Homecoming, a tightly structured, noir laced conspiracy thriller that’s so contemporary yet so unbelievably retro I couldn’t fathom how well they pulled off the mixture.

Julia Roberts gives her best performance in years as Heidi Bergman, a low level mental health worker who has been left in charge of the mysterious Homecoming facility, which on the outside is an integration program to help veterans with PTSD transition into civilian life. This is a privately funded deal though, and Heidi begins to suspect that the powers that be don’t have these guys’ best interests at heart, especially after observing the shady avoidance behaviour of her slippery boss Colin (Bobby Cannavle, also the best he’s been in some time). Years later, Heidi waitresses in a marina fish joint, the events and apparent scandal of Homecoming in her rearview, until a dogged Department Of Defence investigator (Shea Wigham, pretty much incapable of hitting a false note) tracks her down and asks questions, forcing her to look at the past in a new light.

This isn’t just your average spook thriller with Manchurian Candidate undertones, but it certainly achieves that as well. At the core is Heidi’s emotional relationship with Walter (Stephen James, a revelation), one of the vets she’s treating, and how that affects her perception of what’s going on around her, their dynamic is the constant and the catalyst for things to get out of hand. To say more would be to spoil an incredibly subtle, slow burn paranoia piece that unspools one thread at a time and is an utter delight to unpack as the viewer. Roberts is sensational, usually we get a character from her on feature film terms, for two or so hours and then the arc is capped, but there are ten half hour episodes here and she’s allowed to room to breathe in her work, drawing us in and earning sympathy beat by beat. Cannavle is a pithy portrait of corporate greed and casual apathy run amok, not necessarily a bad dude but certainly an amoral, selfish schmuck who realizes the consequences of his actions too little too late, it’s fantastic work from the him. Wigham is always brilliant and plays this guy in the guise of a robotic company man, but as the story progresses we see that he cares far more than his tucked shirt demeanour lets on. Other stellar work comes from Rafi Gavron, Jeremy Allen White, Marianne Jean-Baptiste, Sydney Tanmiia Poitier, Dermot Mulroney, Sissy Spacek and Hong Chau.

I was floored by the camera work here, the overhead angles, meticulous lighting, tracking shots and general symmetry in frame are so immersive and well done, this thing visually feels like noir to its roots while still being very of this era, thematically speaking. It also cleverly plays around with aspect ratio in order to put us in Heidi’s psychological state and accent the passage of time, a tactic I’ve never seen before but am now obsessed with.

It took me a bit to clue in that creator Sam Esmail literally lifted hordes of original score from classic 60’s, 70’s and 80’s horror thrillers and used them here, but by the time I heard cues from John Carpenter’s The Thing and The Fog I had an ‘aha’ moment and had to go look up just how many themes are sampled, and trust me there’s a lot. That could have been a lazy choice from a lesser production to just *entirely* recycle old music, but it’s used to such effect here and works splendidly for this story. This is brilliant stuff and I can’t think of a single criticism really. Stick around for a provocative post credits scene that pretty much begs for a second season.

-Nate Hill

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Marvel’s Ant Man & The Wasp

Among all the razzle dazzle that is the Marvel Cinematic Universe, my favourite series going right now has to be Ant Man. There’s something so relatable about the underdog superhero who’s just a regular guy with a criminal record and a daughter to raise and isn’t some alien from way out there or a snarky billionaire. I love all the quantum realm elements, the trippy SciFi surrealism reminds me of 80’s stuff like Joe Dante or Spielberg and the large/small scale action sequences are hilarious, played up even more in Ant Man & The Wasp, a sequel that blasts further into new ideas, develops the characters more and has a lot more fun than the already brilliant first outing, or at least I did anyways. Paul Rudd’s Scott Lang is under house arrest for two years after an unauthorized trip to Germany, which provides both obstacles and a running joke when Dr. Hank Pym (Michael Douglas) and Hope Van Dyne (Evangeline Lilly) need him to wear the Ant Man suit once again and help them find Pym’s missing wife (Michelle Pfeiffer) who got herself stuck in the Quantum Realm decades before. Pretty much everyone is back for the ride again, including Scott’s merry band of thieves (TI, Michael Pena and David Dastmalchian), his ex wife (Judy Greer) and her husband (Bobby Cannavale) as well as others. I loved this film because nowhere in it is there a sense of menace or an edge, usually something I embrace in superhero movies, but I was looking for something light, feel-good and benign. Even the antagonists are on the easygoing side; Laurence Fishburne is a salty old colleague of Pym’s, Walton Goggins plays his black market tech dealer with that frivolous southern charm and even Hannah John-Kamen’s Ghost, who’s in a perpetual state of (wait for it) ‘molecular disequilibrium’, is just a damaged girl trying to make things right. We won’t speak of the jarring mid credits sequence that now has me demanding an Ant Man 3, which better happen soon. These first two and particularly this one are pleasant, gung-ho SciFi comedies that make the most of terrific visual effects, Rudd’s natural charisma and a retro feel. Something about Douglas and Pfeiffer flying around in Ant suits together and blasting through the quantum realm just has me missing the same sort of films they used to star in in their heyday. This is a throwback to that sort of thing, and I love it to bits.

-Nate Hill