Tag Archives: Lucas hedges

Greta Gerwig’s Lady Bird

Greta Gerwig’s Lady Bird soars on wings of beautifully blunt dialogue, a traditionalist comic of age story that just somehow feels endlessly fresh with each new scene, three miraculous central performances from Saoirse Ronan, Beanie Feldstein and Laurie Metcalf, plus an editing style that creates lovely organic momentum and never falters for a beat. Coming of age stories are usually structured fairly similar across the board, and although all the recognizable chips are in place here, Gerwig has just managed to spin it in a way that still seems fresh and surprising. When you see that a film stars Saoirse Ronan, you pretty much know that it’s going to be an interesting project, if not an instant classic, she just seems to be a magnet for great scripts. The actress is on a career high here as Christine, or ‘Lady Bird’, her self given name, a feisty high school girl navigating the slippery terrain of being a teenager in a Sacramento Catholic high school. Exploring sex and relationships for the first time, clashing with her hotheaded mother (Metcalf in a fiery, complex and compassionate turn that practically demands an Oscar) over what college she’ll go to after grad (she has her sights set on those lofty east coast boroughs where “writers live in the woods”). Her father (understated, excellent Tracy Letts) is more laid back than her mom’s fire and brimstone approach, but both love her more than anything in their own way. All the restless turmoil and transformative angst of being that age is captured spectacularly by the story, somewhat of an autobiographical take on Gerwig’s own life in the early 2000’s. Broadway actress Beanie Feldstein is especially great as Lady Bird’s best friend Julie, and the scenes between the two have an un-coached, ‘fly on the wall’ realism that’s an admirable feat of acting from both. The film is very episodic, employing a brisk ‘fade in, fade out’ tactic with the editing, but despite that never feels staccato or segmented, all of it’s modest ninety minute runtime a fluid, flowing, near free-form anti-structure, a choice which works wonders and one that Gerwig and team should be very proud of. These types of stories always need a good dose of biting humour, a pinch of sadness and something unique to set them apart, as well as simply being well crafted and authentic. This one blasts off the charts in every category, and is one of the sweetest, most endearing and terrific films all year.

-Nate Hill

Martin McDonough’s Three Billboards Outside Ebbing Missouri

Irish writing/directing guru Martin McDonough has pulled a miraculous hat-trick with Three Billboards Outside Ebbing Missouri, a pitch perfect follow up to his other two black dramedies, In Bruges and Seven Psychopaths. He’s an unbelievable talent who specializes in caustic, vigorously sharp dialogue and comic moments organically drawn from real life situations, not to mention a heap of earned emotional moments and narratives that, try as the viewer might, are impossible to predict. This is a near perfect bookend to the trilogy, with a late career encore turn from Frances Mcdormand, who cements an oddly Coen-esque vibe that’s welcome. She plays Mildred Hays here, a fiery single mother whose frustration and rage at the rape and murder of her teen daughter is fuelled into the purchase of three advertising billboards on the outskirts of town, calling out the Sheriff (Woody Harrelson) and his department for their lack of arrests or convictions. Needless to say, this brazen act causes a hailstorm Of events both funny and sad, strange and mundane, but never boring. Harrelson is a blast of potent poignancy as Chief Willoughby, a stern family man who laconically protests the Billboards, but understands the poor woman’s intentions. His arc is one that leaves you puzzled and tugs at the heartstrings unexpectedly, especially when it comes to his relationship with his beautiful wife (Abbie Cornish, most excellent). Sam Rockwell is the height of hilarity as Dixon, a certifiably nuts, volatile man-child of a deputy who violently takes matters into his own hands and exacerbates the whole deal wonderfully with his antics. Rockwell was a dynamo enough in Seven Psychos, and here he takes that loony persona into the stratosphere, a whirling dervish of bizarre, idiosyncratic wonderment. Other standouts include Peter Dinklage as a love-struck dwarf that everyone refers to as a midget, John Hawkes as Mildred’s troubled ex husband, Lucas Hedges as her traumatized son and Caleb Landry Jones as an oddball local advertising mogul. McDonough’s calling card is his defiant refusal to tell a story in Hollywood’s glossy, surface level terms, deliberately punctuating his tales with vagueness, eccentricity and constant reminders that people, emotions, characters and narratives are complex, weird concepts which are seldom black and white or clear cut in any direction. The arcs here are broad, surprising and beautifully drawn, with the same deep set sadness he brought us In Bruges, accented by the acidic, dysfunctional and cheerfully profane writing that showed up in Seven Psychos. This is a film that ducks the pesky limbo bar of standards set by the Hollywood machine in favour of something more unique, a road less travelled when it comes to comedy dramas, but one that anyone seeking fresh, alive and different material would be much rewarded trekking down. One of the best films of the year.

-Nate Hill