Elysium

Hotel Artemis

Perspective. The lens through which we view the world. We usually focus on the most dominant storyline when it comes to art, as it pertains to film and literature. The subplots take a natural backseat to the action in the foreground. However, a fresh perspective allows for new and creative storytelling. Hotel Artemis seemed intriguing, not only because of a cast including Jodie Foster and Sterling K. Brown, but because it fleshed out a familiar plot point.

 If you’re anything like me, you’ve seen your fair share of crime dramas over the years. You’ll recall that whenever someone is shot or otherwise injured, it poses a real problem when they need medical attention. Well, what if there was a hospital just for criminals? Welcome to Hotel Artemis, which is not really a hotel at all. In this stylish, dark action drama, writer/director Drew Pearce (Iron Man 3) spins a common trope of the genre into a tale of murder and mayhem.

 The film opens in the not-too-distant future of 2028 Los Angeles, as three men attempt a bank heist. Two of the three are brothers, the older played by Sterling K. Brown (Black Panther) and the younger portrayed by Brian Tyree Henry (Atlanta). Gravely wounded, the trio call ahead to book some rooms in the Hotel Artemis, members only. The Artemis deals in anonymity, and each resident is known by the room to which they are assigned. The older brother is assigned to the Waikiki room, and the younger to Honolulu. Jodie Foster (Elysium) stars as The Nurse, gatekeeper and Chief Surgeon, so to speak. She runs a tight ship, adhering to a strict set of rules that only allows treatment for members who have paid the hefty premium.

 The technology in the film is pretty cool, with The Nurse performing complex surgeries in half the normal time. Upon arrival, Waikiki runs into old friend Nice (like the French city), portrayed by Sofia Boutella (Atomic Blonde). She’s at the Artemis for more than just medical care, and her mysterious intentions put her odds with the other guests. Throughout it all, The Nurse is tasked with keeping her unsavory clientele in line, enforcing a strict set of rules with the help of her sidekick, a juiced up looking orderly appropriately nicknamed Everest (Dave Bautista, Avengers: Infinity War). On this particularly chaotic night, a riot rages outside. The people have taken to the streets to protest the privatization of water, a nasty hallmark of this quasi-dystopian future. As if things weren’t hectic enough, The Nurse has one more problem to consider after receiving word that yet another patient will be arriving, this one a VIP. “The Wolf King,” ruling crime boss of LA’s underworld is en route (Jeff Goldblum, Thor: Ragnarok) and cannot be denied.

 Hotel Artemis was a fun movie to watch, largely due to its premise. In some respects, the setting is the star. This film isn’t character driven, it’s plot driven. The characters must sustain the action and carry the film, but their maneuvering is made easier by the film’s construct. Although the Artemis is the focal point and the film’s only real setting, its occupants ensure there is never a dull moment. Sofia Boutella proves that her turn in last year’s Atomic Blonde wasn’t a fluke, dispatching unwanted guests Oldboy style. Sterling K. Brown is just a pleasure to watch, in any setting. I rooted for Waikiki, the dutiful older sibling, always making sacrifices. And Jodie Foster, well she’s Jodie Foster. In sum, Hotel Artemis was a cut above your average shoot ‘em up, a cool movie that refreshingly expounded upon a common thematic element. I don’t think you’ll be disappointed.

Grade: A-

Money Monster

There are many ways to tell a story, and one of the great things about film is that it offers the freedom to explore a range of narratives. A sweeping epic may unfold at a leisurely place over the course of two hours. A movie that takes place in a single day will be presumably action-packed and fast-paced, as there is little time for character or plot development. Money Monster promised a glimpse into a day in the life of two men on a particularly harrowing day for both.

George Clooney (Hail, Caesar!) stars as Lee Gates, a Jim Cramer type of character who mixes buffoonery with financial advice on his own cable show. I was amused to see the typically suave Clooney bounce around like a ham-handed carnival barker, flanked by two ‘dancers’ in costume like a bad rap video. Julia Roberts (Secret in Their Eyes) is Patty, his calm and cool producer who helms the ship, making it hum like a well-oiled machine. Gates has a duplicitous, opportunistic aura, sort of like a cross between a car salesman and a stockbroker, with more style than substance. When one of his tips to invest in a company called IBIS proves disastrous, disgruntled viewer Kyle Budwell (Jack O’Connell, Unbroken) exacts his own brand of justice by taking over the television studio during a live broadcast.

An unhinged protagonist is familiar cinematic territory, whether our anti-hero is robbing a bank or holding hostages. Common themes are desperation and a nearly suicidal level of commitment. Kyle is armed with a detonator and makes Lee wear a vest rigged with explosives. He blames the loss of his life savings on the TV host, whose offhand prediction cost him dearly. Dominic West (Genius, The Affair, The Wire) is featured as Walt Camby, IBIS’ shady CEO who claims an unforeseen glitch in his company’s financial algorithm caused the stock to take a hit. At first Kyle’s ire is directed solely at Lee, but Gates is able to pass the buck on to Camby, whose explanation for the massive loss is questionable at best.

Jodie Foster (Elysium) marks her return to directing here, and quite naturally I had high expectations for such an acclaimed collection of Hollywood’s elite. I won’t use the word disappointed, but Money Monster was more decent than memorable. I enjoyed the subplot involving supporting characters as they worked to uncover the truth behind Camby’s questionable geo-political business dealings, but for the most part the tension and tautness wasn’t there. Perhaps the fault lies in the script, as I thought Foster’s direction within the tight confines of the television studio was effective. The small space added to the air of desperation, but overall the film wasn’t something that stayed with me. Sometimes a day at the movies is just a passable one, and while that’s enough for some – others may want a little more. Grade: B

The Monuments Men

The intriguing thing about history is that there is always an untold story.  Against the backdrops of some of the most memorable historical events of our time lie fascinating subplots.  In times of war, for example – the prevailing story will understandably be one that focuses on human casualties.  The artistic or cultural loss of war may not be readily apparent, and most historical narratives don’t explore such considerations.  As a result, actor/director George Clooney (Gravity) found a unique opportunity to highlight a chapter of world history that was previously untold.

During World War II, Hitler instructed the Nazis to seize all works of art, including paintings, sculptures and other precious artifacts.  He supposedly had designs for a museum in his own honor and wanted to fill it with items he’d pilfered along the destructive path he carved through Europe.  In the event that Hitler was killed or captured, he instructed his troops to destroy the stolen art.  President Roosevelt recognized the value in preserving culture and authorized a commission to retrieve the items and return them to their rightful place.  Clooney stars as Lieutenant Frank Stokes, the man tasked with assembling the group that would be known as “The Monuments Men” for their willingness to sacrifice their own lives for the preservation of precious cultural monuments.

You might ask yourself, who cares about a painting when people are being killed? However, Stokes’ character conveys the purpose for The Monuments Men, answering the necessary question of whether or not a piece of art is worth a man’s life.  I’m paraphrasing the quote, but Stokes says that if you burn a man’s house down, he can come back.  But if you destroy his achievements and his history, it’s like he never existed.  That line struck me, and I think The Men’s sacrifice should be celebrated.

The commission is comprised of former military, all of whom have a unique knowledge of art either through study or creation.  Matt Damon (Elysium) co-stars as museum curator Lieutenant James Granger, while Bill Murray (Moonrise Kingdom) and John Goodman (Inside Llewyn Davis) are featured as Sergeants Richard Campbell and Walter Garfield, respectively.  The cast notably includes Cate Blanchett (The Hobbit: The Desolation of Smaug), Hugh Bonneville (Downton Abbey), and Jean Dujardin (The Wolf of Wall Street), with all of the characters filling unique roles that were integral to advancing the storyline.  At the helm both literally and artistically is Clooney, and the men he commands share his passion and commitment to the cause.

The Men contend with Nazi soldiers as well as resistance from Allied troops who don’t share their passion for art, at least not when weighed against the potential risk to American soldiers.  However, I never doubted the validity of their cause, and perhaps that is a testament to Clooney’s storytelling and direction, though I’d be remiss if I didn’t mention that the film is based on a book by authors Robert M. Edsel and Bret Witter.

The Monuments Men was a solid movie, and I found it well made and well acted.  However, it’s not the type of movie that drives foot traffic to the theater, though my show featured high attendance.  This is a quiet movie that you can see with your mom.  You’ll learn something, you’ll chuckle a few times, and you’ll probably be pleased overall.  But this is not the type of movie that will have you talking and telling your friends that they’ve “gotta see it.”  While it was enjoyable, I found myself ready for the credits to roll, despite some good performances and entertaining moments.  This is the kind of movie you’ll stumble across while flipping channels, and you’ll be glad that you did – but it was a bit too understated in its direction for me to give it a ringing endorsement.  Grade: B

This article first appeared at Poptimal and was reprinted with permission.