Between the hustle and bustle of moving into a new house, raising two young daughters, and researching drip irrigation emitters, I am attempting to fit in a few movies—new and old—during the calm, summer nights. Here are a few capsule reviews of my viewings thus far. Feel free to share your opinions and current summer viewings as well…
The Bikeriders (2024) **1/2 out of *****
Jeff Nichols’ The Bikeriders wants to revel in its late-60s biker culture myth but can’t help over-characterize its actors and actresses for the sake of being cool.
Some of the idealized romanticisms work. Tom Hardy acts so extraneously that he might as well be from a different movie (or planet), sucking down cigarettes like they were candy and stealing each scene with quiet intensity. Newbie Jodie Comer fringes on Lorraine Bracco/“Karen” in Goodfellas to a pipsqueak caricature of the same role, and the outcome is surprisingly entertaining. But, Austin Butler is a no-show, sleepwalking through the role like Elvis on his last day.
The bricked backroads of Cincinnati are picturesque enough, the Ohioan accents are outrageous, and the portrayal of bravado’s sense of belonging works here and there. But, the second half of the movie just kind of drifts and drifts predictably and aimlessly. Maybe that’s what bikers do. Easy Rider would probably still say: “We blew it.”
Heaven Knows What (2014) **** out of *****
For most addicts, the poison is the medicine for the poison, and if you have a codependent partner to suffer along with you, hell on earth couldn’t be any more real.
Somehow, the Safdie Bros. emulate a perfectly disorientated experience and bring a scraper to the dinge of the heroin-hooked streets of NYC. The same electronica-scored, claustrophobic framing they perfect in Good Time (2017) and Uncut Gems (2019) comes in raw form here—almost more effectively because its mayhem works in the mayhem of its subject matter. Also, these are all real people reenacting real experiences!
This is as bleak as it gets, making Trainspotting look like a Mickey Mouse joy ride.
“Just Say No?” More like just watch this thing.
Maestra (2023) *** out of *****
Unintentionally, Maestra works as a technical masterclass supplement to the drama of Tár (2022). Neither movie wants anything to do with the other, but they both effectively outline the unfortunate misogyny that has dominated the classical music industry since man picked up a baton. The La Maestra conducting competition in Paris is engrossing enough, and all the individual studies provide necessary context, but the empowerment and struggle of women conductors is merely surface scratched. Why does Director Maggie Contreras shun Tár in recent interviews when Tár at least challenges the bureaucratic favoritism that taints her beloved culture? True, the education and celebration of conducting as an art form of self-expression comes through in Contreras’s documentary, but what does it have to do with today’s female leaders in music? I’m afraid a few random anecdotes and a couple of examples of sexism don’t do the wisdom of women any justice. I’d rather be inspired and impassioned by Tár again.
Have you seen any of these?
Happy Summer!
Reely Bernie
Reely Bernie 
Nope, but I saw Tar, and fell in love with Cate Blanchett all over again. 😀
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Excellent reviews as always. “The Bikeriders” is definitely a film that I would like to see at some point this year. I’m not so interested in the culture of bike riding in America. The main reason why I want to see this film is the impressive cast. I am a big fan of all three actors, but particularly admire Austin Butler. Butler is a fantastic actor that been everywhere lately. Recently, I loved his scene-stealing supporting turn in “”Dune: Part Two”. He was amazing in a villainous role. He’s one of those actors that has always delivered, and “The Bikeriders” appears to continue his winning streak.
Here’s why I loved Butler’s performance in “Dune: Part Two”:
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Austin Butler was on the top of my up and coming star list until “The Bikeriders,” which he renders a dull role. However, you are so correct: His inclusion in Dune Part 2 was phenomenal, and his presence so daunting. I hope you like Bikeriders. I was not a fan, but I know the younger audiences ate it up.
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Hi Bernie, I wrote about Heaven Knows What back in 2015! Its near-flawless as far as documentary-style films go. The plot takes a back seat in Heaven Knows What which might turn people off, but that’s what I adored about it; raw, real and totally honest.
Re. Maestra, I hold Tar in such high regard as it seems you do as well. I have it sitting at No 36 on my current list, but I need to see it again. Your reflections of them both as a conductor yourself is intriguing to say the least.
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Hey, Matthew! I know Tar will end up in my Top 50 when I reevaluate that list again. People seem to forget that, yes, it’s fiction, but, yes, the gender power struggle and bias is real, and this interpretation is not only spot on, the director has family music experience in the industry. Plus, it’s just a seamlessly executed movie. Looking forward to reading your review of Heaven Knows What. That was a surprise for me, as I have been going backwards with the Safdie Bros. Next us is Daddy Longlegs. Have you seen that one? Have a great week, good friend.
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I need to see ‘Tar’ again, like how I want to see Dune 2 for the 3rd time, but all these movies are spread out over different streaming services. Arghh!
I loved reading your description of ‘Tar’. The way I described it was ‘To my mind Tár also sits in the centre, but of a triangular prism with movie spokes of ‘Kubrick, Tarkovsky and Bergman’ because there is a linear structure to the madness. As a movie aficionado I was enthralled watching this prism bend and warp in Tár.’
I don’t think I have seen anything else by the Safdie Bros. I hope you write about Daddy Longlegs. You too have a good week, man! Cheers.
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