Three women bristle around each other in a New York apartment as they wait out their father’s final moments in His Three Daughters, a quiet movie packed with bittersweet humor and first-rate performances.
Oldest sister Katie (Carrie Coon) comes from Brooklyn, where she lives with her family that includes a teenage daughter she is clashing with. Christina (Elizabeth Olsen) is the mother to a young toddler and lives somewhere on the West Coast. They return to their father’s apartment, where he lives with Rachel (Natasha Lyonne), the daughter of his second wife, who he has raised since she was little. He is her father, she is his daughter, as Rachel explains at one point, as much as he is the father of Katie and Christina, but you can tell they’ve never entirely thought that.
On top of the difficult relationship they’ve clearly always had, they are now all dealing with grief — Rachel by getting and staying high, Katie by being angry at that and pretty much everything else Rachel does, and Christina, who we get the sense is always a little woo-woo, by what feels like aggressive meditation and forceful positivity. Katie and to some extent Christina sort of poke at Rachel about the fact that she will get their father’s large rent-controlled apartment to herself when he’s gone. Benjy (Jovan Adepo), Rachel’s boyfriend, urges her to stand up for herself and the fact that she has been with her father through his illness, taking care of him and keeping him company. And everybody seems to agree that Christina is, as Benjy said, not on this planet. These are three big personalities squished together in an apartment — big personalities with a lot of feelings they don’t know how to manage. It’s claustrophobic, it’s darkly funny and it’s occasionally throat-grabbingly sad.
There’s an almost stage-play quality to some of the elements of this movie — the mostly-in-one-apartment setting, the conversations between sisters — but with the best that an indie movie has to offer in the way it can study characters or root an insular space in a larger setting. The movie often gives us long, close shots of the women as they’re talking or just sitting and thinking. They don’t have the space to get away but we get the space and the time to really watch them — and to watch the excellent performances that Olsen, Coon and Lyonne are giving. The women give you so much with facial expressions and looks — the hard set of Coon’s face, Lyonne’s big-eyed gazes, Olsen’s ability to look quiet and neutral and also sort of crazed and at the end of her emotional rope. The movie can organically have them deliver monologues about their dad and also fight saying almost nothing and it all reads as believable. The movie also gets the balance of humor, dark humor and sadness just right. A
Rated R for language and drug use, according to the MPA on filmratings.com. Written and directed by Azazel Jacobs, His Three Daughters is an hour and 41 minutes long and is in theaters and streaming on Netflix.
Transformers One (PG)
Before they were Optimus Prime and Megatron, the rival Transformers from Cybertron were Orion Pax and D-16 in Transformers One, an animated origin story for the Transformers and perhaps for a new approach to the franchise.
And while these Transformers are animated and lacking in the PG-13-ness of Michael Bay’s whole weird Megan Fox live-action deal, the movie is probably right at the edge of what I’d show to younger Transformers fans (think older elementary school-aged or so), what with all the robot-on-robot violence and characters being sliced in half and whatnot. I definitely heard some concerned squeaks from kids in the theater during some of the scarier parts. One of the too-cool-for-elementary-school kids I saw the movie with, while declining to call the movie scary, did say there were some creepy parts.
The animated nature of the movie does, however, allow for what feel like fuller, more complete personalities for the Transformers than some of the live-action movies. While we are still dealing with actor voices and separately generated images, these Transformers feel more, I don’t know, nuanced? We’re watching Orion Pax and his good buddy D-16 on their journeys to becoming Optimus and Megatron and I felt like the movie did a good job of showing those character arcs.
When we start out, Orion Pax (voice of Chris Hemsworth) and D-16 (voice of Brian Tyree Henry) are miners looking for Energon, the Transformers’ energy source, which used to flow freely on Cybertron but has become harder to find since the Primes died during a conflict years earlier. (And if that all sounds like nonsense words, maybe just: “robots search for glowy blue stuff.”) But Orion firmly believes he and his friend are more than meets the eye, despite their lowly social status and inability to transform. To prove that, he tricks D-16 into joining a big race that only transforming Transformers have ever competed in. They don’t win, but their moxie attracts the attention of Sentinel Prime (voice of John Hamm), the big noise hero and leader of their massive city-state. He promises them that they’ll become role models, but a jealous competitor sends them to the garbage transfer room, where B-127 (voice of Keegan-Michael Key), who is called B, or maybe “Badassatron” if he can make that nickname stick, is ecstatic see other people for once. When it turns out some of the trash contains information that could help Sentinel Prime find a path to more Energon, Orion, D-16 and B think they’ve found their ticket out of the garbage room and begin a quest.
Eventually they join up with Elita-1 (voice of Scarlett Johansson), make it to the surface, learn a bunch of surprising information and are ready for a fight that eventually tears our core duo apart.
Spoiler alert, I guess? Except that Megatron v. Optimus Prime is probably the base level of information everybody has going in about the Transformers.
And if that’s all you know going into this movie, that’s probably fine. This is a pretty standard, easy-to-follow story about how people respond to discovering injustice — with a call for revenge or a call for, like, a more perfect union. If you are a bigger fan (or a parent who has had Transformer toys and cartoons injected into your life), you’ll appreciate the “hey it’s Starscream” and the “ha, the boombox guy.” And I think either way, viewers can enjoy this story that makes Transformers more individual characters than just the CGI marvels most are in the live-action movies. And I appreciated the effort put into the vocal work — Hemsworth allows you to hear that deep Optimus voice emerge from Orion’s more happy-go-lucky youngster while Henry turns D into a villain more in the Magneto vein, someone with justifiable anger who makes some good points.
Transformers One is also visually winning, adding both warmth and beauty to these metallic characters and their world. B+
Rated PG for sci-fi violence and animated action throughout, and language, according to the MPA on filmratings.com. Directed by Josh Cooley with a screenplay by Eric Pearson and Andrew Barrer & Gabriel Ferrari, Transformers One is an hour and 44 minutes long and is distributed in theaters by Paramount Pictures.
Didi (R)
Young teens young-teen it up the summer before high school in Didi, a sweet, charming, only occasionally traumatic story written and directed by Sean Wang.
Based on his background as a Taiwanese-American who grew up in the Bay Area, as he describes in various media reports, Wang seems to be riffing on his own experiences for the experiences of Chris Wang (Izaac Wang) in the summer of 2008, all MySpace and Facebook and awkwardness everywhere. Chris, called Wang Wang by his friend group, is both kind of a mess and totally fine in that very specific young teen way. He gets along horribly with his big sister Vivian (Shirley Chen) who is about to leave for college. He is embarrassed by and sassy to his mom Chungsing Wang (Joan Chen) while politely semi-ignoring his paternal grandma Nai Nai (Zhang Li Hua), who lives with the family. Not living with the family is Chris’s father, who is working in Taiwan — a state of things that seems to irk everybody even as they are all resigned to it. Chungsing in particular seems frustrated with how this has all worked out for her. The movie spends a fair amount of time with Chungsing, a painter whose artistic ambitions have taken a backseat to raising her kids and caring for her hypercritical mother-in-law. We also in small ways get to see Vivian, her relationship with these two women and how she fits in with this family that she is moving a day’s drive away from for college.
But of course Chris is the movie’s true focus. We see him attempt to date a girl he has long been interested in, have falling-outs with his friends and attempt to impress an older group of skater kids — a lot of which plays out on MySpace and Facebook and via AOL Instant Messenger. Along the way, there is a lot of asking YouTube for advice — on how to kiss, on how to shoot a skater film. It’s all very cute and traumatizing in that “watching through your fingers” way as Chris tells a very boy-based, girl-horrifying story on a group date or fronts like he can handle various party intoxicants only to wind up puking in the bathroom. Mixed in with the standard teenage stuff are Chris’s struggles with what it means for him to be Asian — which comes with its own microaggressions even in this culturally diverse environment — and to be an American-raised kid with American desires even as his mother and grandmother have their own different (from Chris and from each other) cultural expectations and experiences. The movie does a great job of pulling this all in while still keeping the story very much on his specific life, his specific feelings and his difficult time communicating his feelings particularly to his friends. (Rather than say he was embarrassed or explain what he’s feeling he tends to just block his friends on AIM.) And all the stuff with his family seems equally well-drawn — the sibling relationship, with its horribleness and its supportiveness, is wonderfully spot-on. Excellent performances all the way around in this very solid movie. A
Rated R for language throughout, sexual material, and drug and alcohol use — all involving teens, according to the MPA on filmratings.com. Written and directed by Sean Wang, Didi is an hour and 33 minutes long and distributed by Focus Features. It is available for rent or purchase and in theaters.
