Movie Review: Daybreakers

Daybreakers (2010) 

Directed by The Spierig Brothers 

Written by The Spierig Brothers 

Starring Ethan Hawke, Willem Dafoe, Sam Neill, Isabel Lucas, Claudia Karvan

Release Date January 8th, 2010 

Published January 7th, 2010 

It's such a disappointment. The first 70 minutes or so of Daybreakers is a quite compelling Vampire thriller. The last 20 minutes, give or take a few, are such a massive wrong turn that they make me wretch at the thought. I was set to recommend Daybreakers but the ending is such a poor decision, such a disastrous wrong turn that Daybreakers becomes an early worst of the year candidate.

Ethan Hawke stars in Daybreakers as Vampire Hematologist Edward Dalton. Edward lives in a future, 2017, in which vampires are the majority and humans are hunted and farmed for blood. Unfortunately, the demand for blood is soon to exceed the supply. It is Edward's job, at the behest of his demanding boss (Sam Neill), too invent a viable blood substitute.

Elvis (Willem Dafoe) has a better idea, he has a cure. Through some remarkable accident Elvis has regained his humanity and he thinks that with Edward's help he can figure out exactly what cured him and begin to return the human race to dominance. Elvis and his partner Audrey (Claudia Karvan) kidnap Edward and he is more than willing to help. Unfortunately, he is being tracked by his brother Frankie (Michael Dorman) a member of the military human hunters.

As Edward seeks the cure and his brother and boss come together to plot against him there is an effective thriller with strong stakes and strong characters. Approaching the finale the film has great momentum all it needs is a satisfying end to cap the whole thing and make a pretty terrific genre thriller.

Sadly, all that co-directors Michael and Peter Spierig come up with is a gore-laden, special effects finale that undermines Daybreakers' thriller tension in favor of splatter movie ugliness. I don't mind gore, early on in Daybreakers a minor character explodes and the scene is quite effective. The ending unfortunately takes the gore too far, using it as a means to finish the movie as if they just couldn't think of anything else.

The bloody finale is a trapdoor, an easy escape for filmmakers without the imagination or talent to come up with something better. What a shame, there is a pretty solid thriller under all of the viscera in Daybreakers.

Movie Review: First Reformed

First Reformed (2018) 

Directed by Paul Schrader

Written by Paul Schrader 

Starring Ethan Hawke, Amanda Seyfried, Phillip Ettinger

Release Date May 18th, 2018 

Published June 5th, 2018

First Reformed is a fiery, explosive and controversial movie featuring a first-rate, Oscar-calibur performance from Ethan Hawke. Directed by Paul Schrader, the writer of Taxi Driver and Raging Bull and the director of American Gigolo, First Reformed tackles environmental and religious issues and pits Ethan Hawke’s ailing priest in a battle of wills with himself, his faith and the members of his congregation.

In First Reformed, Ethan Hawke stars as Reverend Ernst Toller, a thoughtful and troubled man who has lost a child and a wife in short order. He’s also ill, suffering from an illness that may or may not be cancer but these are only the beginnings of Reverend Toller’s issues. When he’s called upon to counsel a couple, played by Amanda Seyfried and Phillip Ettinger, he’s drawn into a complicated pair of lives that will change the course of his life.

Ethan Hawke is incredible in First Reformed. While I have many issues with the movie, Hawke’s performance wills me past many of those issues with his bubbling cauldron of a performance that begins at a simmer and slowly comes to a boil. Hawke is riveting as we watch him confront his faith, his mortality, despair and the seeming limits of God’s power on Earth. It’s a performance of remarkable depth and restrained passion.

The story of First Reformed is almost entirely told in Hawke’s voice with a voiceover narration that runs through the entirety of the film, ducking out only for the most needed dialogue among characters. Otherwise it is a searing stream of consciousness as Reverend Toller writes in a series of journal entries that bind the narrative. In these entries he is confronting his doubts and fears and confronting his inability to pray and his stalling faith.

Phillip Ettinger and Amanda Seyfried are subordinate to Hawke’s performance but each fills out the story well providing the motivation of Hawke’s performance. Each of them intentionally and unintentionally drive Pastor Toller to confront parts of himself that are deeply disquieting and unendingly compelling. They are joined by excellent supporting performances from Cedric the Entertainer as a morally ambiguous fellow priest and Edward Gaston as a corporate villain who happens to be the church’s main benefactor.

Many will be put off of First Reformed because it has a hardcore leftist environmental message. Hawke’s Reverend Toller is essentially evangelized into the environmental movement and if that is not something you’re comfortable with, First Reformed may not be the movie for you. Director-writer Paul Schrader gives no quarter to climate change deniers, painting them as corrupt and opposed to the will of God in equal measure.

The ending of First Reformed nearly put me off the film entirely. Up until the final moments of First Reformed I was riveted by Ethan Hawke’s award-worthy performance and powerful voiceover narration. Then the ending arrived and my blood nearly boiled when the film simply cut to black. I sort of understand the point of the ending, it’s high art if you will but it does not make for a satisfying narrative conclusion. It’s as rushed and awkward as the rest of First Reformed is deliberate and careful.

First Reformed is available now on Blu-Ray, DVD and On-Demand. I recommend it for fans of Ethan Hawke and environmental activists as well.

Movie Review: Waking Life

Waking Life (2001) 

Directed by Richard Linklater

Written by Richard Linklater

Starring Wiley Wiggins, Ethan Hawke, Julie Delpy, Nicky Katt, Adam Goldberg

Release Date October 19th, 2001 

Published December 25th, 2001 

I am a collector. I collect DVD's, sports memorabilia and movie collector cups, etc. But above all I collect intelligent opinions. I love to listen to and interact with intelligent people. Richard Linklater's breakthrough animated film Waking Life is a series of intelligent conversations set against one of the most visually striking backdrops I've ever seen.

The film is taken from the perspective of an unnamed character played by Wiley Wiggins from Linklater’s Dazed & Confused. (I'll explain the “played by instead of voiced by” credit later). Wiggins’ character is trapped in a dream, though he doesn't realize it right away. In the dream he interacts with a series of run-at-the-mouth philosophers who while at times obnoxious, actually do have interesting opinions.

The conversations are meaningful discussions of philosophy, religion and the meaning of life. None of the characters claim to have the answers to the many unanswerable life questions but they are at least brave enough to discuss topics like death and existence or nonexistence of a higher power. Questions that many people would prefer weren't asked.

While the film is, at times, aimless, the animation is so lively that you are at rapt attention throughout. Linklater and his team of animators did something very unique in Waking Life, first filming the movie with live actors, Wiggins, Ethan Hawke and Julie Delpy amongst others. Then the animators used computers to animate over the shot footage, which gives the film it's dreamscape and allows for visual experimentation that could never work in a live action feature.

You know how in dreams when you know where you are but it looks nothing like it does in real life? Waking Life seizes upon that dreamy feeling and uses it's dialogue to lead it's main character and the audience to a surprisingly satisfying open-ended conclusion. It's up to you the viewer to decide for yourself what happens to Wiggins’ character at the end of the film.

Richard Linklater is weaving an amazing career, from Slackers to Dazed & Confused to Tape and now Waking Life. Linklater has established himself on the new frontier of film as art.

It's a small, unnamed generation of young filmmakers like Linklater, Allison Anders, P.T Anderson and Darren Aronofsky who are championing filmmaking as art over mere commerce. They swim against the tide of Hollywood and attempt to say something. Film as sociological art. It's not merely about entertaining the audience but about inspiring them and touching them emotionally and intellectually. If only more filmmakers shared their vision and courage.

Movie Review The First Purge

The First Purge (2018) 

Directed by Gerard McMurray 

Written by James DeMonaco 

Starring Lex Scott Davis, Marisa Tomei, Steve Harris, Joivan Wade

Release Date July 4th, 2018

Published July 3rd, 2018 

The First Purge stars Lex Scott Davis as Nya, an activist opposed to a new social experiment in crime. The New Founding Fathers of America, a right wing political party, has come to power, replacing Republicans and Democrats in the American power structure and they believe they have a solution for America’s crime problem. The idea comes from a scientist named Dr. Updale, Marisa Tomei, who isn’t convinced her idea is a cure-all.

The experiment which will come to be called ‘The Purge’ entails allowing people the opportunity to get out their pent up aggression with a night of legalized violence. For the experiment, the NFFA will cordon off Staten Island, New York and pay residents and visitors $5000.00 to stay on the Island and take part in 12 hours of legalized debauchery of all types. For her part, Nya believes The Purge is an attack on the poor and oh, how right she is, even if she doesn’t know it yet.

As the experiment of The Purge unfolds in this already crime riddled area, things begin with a strange peace. Few, if any, residents are actually engaging in criminal behavior. The NFFA has a lot riding on the night being an example of the effectiveness of their new rule and when things appear to be working in favor of the better angels of our nature, aside from a murderous crackhead named Skeletor, the NFFA decide to tip the scales a little with some outside help.

Soon, the streets of Staten Island are littered with bodies as the world watches on news networks supplied a ringside seat via drones that capture the action from on high. There is also the added attraction of first person perspective on the most gruesome crimes as some Island residents have been fitted with special contact lens cameras to capture the mayhem. The contacts are also a neat visual to help differentiate the truly dangerous from the endangered.

The First Purge is the fourth film in The Purge franchise, though the first in the continuity of the story which began being told in 2014 with Ethan Hawke and Lena Headley. The original The Purge posited an almost lackadaisical air surrounding the nationwide mayhem known as The Purge. Families discuss The Purge with the urgency of going to the supermarket or the video store. By the time of that film, The Purge is just another part of life.

The First Purge enlivens the franchise by taking it back to the beginning. Director Gerald MacMurray, taking the directorial reins from franchise creator James Demonaco, who did stick around to write the script for this outing, embraces the social satire of the original concept more blatantly than the first three films in the franchise. Indeed, MacMurray’s take on The Purge concept is straight ahead satirical polemic with the visual style of blaxploitation movies of the early to mid-seventies.

There is no hiding the politics at play here, the NRA gets name-checked as the financial backers of the New Founding Fathers of America and a scene where Nya is assaulted by a sewer dwelling, masked stranger contains a reference to President Trump that is sharply pointed. All of the New Founding Fathers of America seen on screen are doughy white guys reminiscent of a current White House casting call.

The First Purge pulls no punches in its social commentary with scenes ripped from recent American history from the smoky streets of Ferguson circa 2014 to the unrest in Charlottesville, Virginia, just last year. Though tiki torches are surprisingly circumspect, there are men in Klan robes and men in uniforms reminiscent of the German S. S that are as striking as ever and similarly worn by hate groups at the Charlottesville riots in real life.

If the characters and storytelling had been as pointed and forthright as the social satire, we’d be talking about a much better movie. Unfortunately, the characters in The First Purge wind up underwritten in favor of the atmosphere of dread and, as mentioned, the high level of social satire. That’s not to say that Lex Scott Davis or Joivan Wade, who plays her brother in the movie or Mugga, who plays a Nya’s neighbor, are bad actors. Rather, they’re just pawns of the plot rather than people whose action drives the plot.

The editing of The First Purge is also a tad suspect, contributing to a choppy style that can be a tad hard to follow and not all that pleasant to look at. The Cinematography and production design appear to be areas where the filmmakers were attempting to save money as the film’s visual style rarely stands out, aside from one scene that appears to be a full-on homage to the low budget aesthetic of a Gordon Parks or Melvin Van Peebles.

Newcomer Y’Lan Noel plays drug dealer turned leader Dmitri and gets all of the best visuals in the movie. Late in the film, as Dmitri and his crew are traveling the streets battling the mercenaries of the Klan, the Alt-Right and the NFFA, Dmitri turns full on action hero and MacMurray films him like a combination of Shaft, Bruce Lee and Killmonger. He even gets to be John McClain for a little while as he makes his way through an apartment building picking off bad guys one floor at a time.

The homages and the social satire are the best and boldest part of The First Purge which is an otherwise middling affair. The characters are thin, the dialogue is often stilted and awkward, especially the supposedly ‘Street’ dialogue which plays the hits of all the worst cliches of gang speak. I want to embrace big parts of The First Purge but too much of the movie is too subpar for me to fully celebrate what works.

Movie Review Juliet Naked

Juliet Naked (2018) 

Directed by Jesse Peretz

Written by Tamara Jenkins, Jim Taylor, Evgenia Peretz

Starring Rose Byrne, Ethan Hawke, Chris O'Dowd 

Release Date August 17th, 2018 

Published October 15th, 2018 

Juliet, Naked stars Rose Byrne as Annie, a museum director in a small suburb of London. Annie’s life is growing a bit stale. Her job is boring, her sister is a mess, and her boyfriend, Duncan (Chris O’Dowd), is obsessed with a rock star named Tucker Crowe (Ethan Hawke) who disappeared into obscurity after making just one really successful record. For 25 years Duncan has collected and obsessed over scraps of information that he puts online at a website he made and dedicated to Tucker Crowe. 

At first, Duncan’s obsession was cute but after a few years of living together, Annie has grown tired of it and of Duncan. The plot kicks into gear when a mysterious package arrives at Annie and Duncan’s home. Annie finds it first and inside finds something called “Juliet, Naked.” Juliet was the name of Tucker Crowe’s only record and the ‘naked’ of this title refers to demo tracks of Tucker’s first record more than 25 years old. 

For an obsessed fan like Duncan, Juliet, Naked is like finding ancient religious scrolls or an authentic shroud of turin. It’s legitimately, to Duncan, an act of betrayal when Annie finds the CD and listens to it before he gets the chance. The betrayal deepens when Annie states that she finds the record insufferable and says so in a review that she posts on Duncan’s own website under an assumed name. 

Things take a turn for the surreal when the real Tucker Crowe reads Annie’s review and sends her an email telling her he agrees with her. Tucker has been a ghost for 25 years for a reason and part of it is how much he doesn’t like his own music. Tucker and Annie begin to correspond and as they grow closer, she and Duncan grow further apart until apart is all that they are able to be. With Duncan out of the way can Annie actually be in a relationship with the target of her ex’s obsession? 

Clever sounding premise aside, Juliet, Naked is one of the bigger disappointments of 2018 for me. I have been anticipating this movie since I heard about it. The film is based on a novel by Nick Hornby, my favorite writer whose books have inspired a couple of terrific movies, including an all time favorite of mine, High Fidelity starring John Cusack. I desperately wanted this movie to be great and sadly, it's only okay. 

What are the specific issues with Juliet, Naked? For starters, a complete lack of ambition. The movie is so elegiac, so lacking in vitality that it feels at times to be at a crawl. I don’t need this to have the pace of a Fast & Furious movie but the montage of Annie and Tucker’s email exchange is glacially paced even as it features very charming actors providing voiceovers for the scene. Even with Ethan Hawke and Rose Byrne, the scene is lifeless. 

And then there is the character of Tucker who is a complete disaster. Ethan Hawke plays Tucker as a sincere and forthright failure, a loser who has multiple kids by multiple mothers and lives off the residuals of his one big album, sleeping on a pull out bed at his ex’s farm so he can be close to his youngest son. That’s a lot of stuff to play as a character but Hawke doesn’t do much of anything with it. The film appears to rely solely on the charm of Hornby’s character to make Tucker interesting but somehow he appears stuck in the pages and not on the screen. 

The film reaches toward a moment of transcendence when Annie invites Duncan to come over and have dinner with her and Tucker at her home as a goodwill gesture. Duncan can hardly hold back on his fanboying and tells Tucker how much he loves his record and what it means to him. Tucker replies that he hates the record and the person he was when he made it. Duncan is wounded but defends himself and his love of Tucker’s record. It’s a good moment capped off by Duncan saying that art is not for the artist but for those who appreciate it before storming off. 

The film approaches something fascinating here about the relationship between artist and fan but director Jesse Peretz fumbles the moment slightly. Is Duncan a fool or are we meant to sympathize with his love of Tucker’s music? Is Tucker a jerk? Yeah, kind of. He’s kind of like those people who can’t graciously accept a compliment and instead come off as rude and unappreciative of genuine kindness. 

That could be a perfectly acceptable response on Tucker’s part but the way it plays in the moment makes both Duncan and Tucker look equal parts jerk and offender. We do find out why Tucker hates his own creation in the following scene but he really loses our sympathy in the previous scene and the rest feels like the character and the movie are making excuses for his rude behavior, excuses that don’t hold water. 

If Duncan is a buffoon then let him be a buffoon. Juliet, Naked takes such pains to be evenhanded about these characters that it lacks any perspective whatsoever and leaves a wishy washy impression of all three central characters. Director Jesse Peretz took a similarly even handed approach to his comedy Our Idiot Brother starring Paul Rudd to a similarly wishy washy effect. It’s as if he doesn’t want to offend anyone to a point of pointlessness and an aimless narrative. 

This is supposed to be Annie’s story and yet until the end of the movie, Annie is a mostly listless character. The world continually happens to Annie aside from when she posted her negative review of Tucker’s record. Everything that happens with her after that is dictated not by Annie but by everyone else. Rose Byrne is capable of carrying this story but the movie continually lets her down scene after listless scene. 

All of that said, Juliet, Naked is not a bad movie. It suffers from a conventionalism that is rampant in modern movies, an eagerness to not offend anyone or make anyone uncomfortable. Everybody is flawed and no one judges anyone and even when they do, they are justified in doing so. This is supposed to be akin to realism but in the sacrosanct world of romantic comedy, realism doesn’t translate. Pretty much all romance is hyper-realized or idealized because real romance is hard work and we don’t go to the movies for hard work. 

There is no hard work in Juliet, Naked. The filmmakers want both to be ‘realistic’ and exist in the idealized world or romantic comedy. The dissonance is maddening and leads to a movie that moves with little momentum, features idealized characters in a contrived narrative and yet the filmmakers want to play at being taken seriously because the problems these characters have, their flaws and how they work towards overcoming them have a whiff of the real. 

Perhaps it is possible to make a funny romantic comedy that is also based in something real and insightful but Juliet, Naked never bridges that divide. Instead, it’s a maddening, slow moving, not entirely terrible movie featuring some genuinely good actors and some genuinely good moments. There is a good movie here but it’s missing a director who knows how to get at what is good about it.

Movie Review Taking Lives

Taking Lives (2004) 

Directed by D.J Caruso 

Written by Jon Bokencamp 

Starring Angelina Jolie, Ethan Hawke, Kiefer Sutherland, Olivier Martinez, Tcheky Karyo'

Release Date March 19th, 2004

Published March 18th, 2004 

Director D.J Caruso is one of the most promising young directors in all of Hollywood. The Salton Sea with Val Kilmer is one of the most underrated films in years. Combining modern day Tarentino rhythms with classic Hollywood noir, Salton Sea was a rarity that combined smart writing, direction and acting. That success makes Caruso's new film, Taking Lives such a massive disappointment. Whereas Salton Sea was inventive, unique and intelligent, Taking Lives is mundane, predictable and clichéd.

Angelina Jolie stars a FBI agent Illeana Scott, an unusual criminal profiler who has no qualms about crawling in and lying down in an open grave or spending all of her free time staring at pictures of dead bodies. Illeana has traveled to Montreal at the request of a cop friend (Tcheky Karyo) to investigate a serial murderer. The killer’s M.O is to choke his victim, cut off the hands and smash the skull.

It's up to Illeana to draw up a profile of the psycho to help the Montreal cops, who include Paquette (Olivier Martinez) and Duval (Jean-Hughes Anglade), find some sort of rationale for finding the killer. They get a big break when the killer is interrupted during a murder by a guy walking home. The witness is James Costa (Ethan Hawke), a skittish young artist who claims to have never seen a dead body before. 

With Costa's help the cops draw up a sketch of the killer that they hope will lead to his capture. Another break comes when the mother of the alleged killer claims to have seen her son who she had thought was dead, an early victim of the killer. If it all sounds familiar, it is. There is nothing in Taking Lives that is the least bit original. It plays like an homage to Fincher's Seven (the credit sequence is an almost direct lift) but without Fincher and Andrew Kevin Walker's ingenious pacing, mystery and artful grunge.

Caruso seems to think that if you show really graphic shots of dead bodies that people will think of Seven and give his film a pass. This is not Seven, this is formula Hollywood with typical thriller twists and turns. Typical character mistakes and an ending so boneheaded that it would be laughable if the actors involved weren't such professionals. David Fincher this is not. 

It's hard to believe that it has been over four years since Angelina Jolie has made a good film. That was her Oscar winning turn in Girl Interrupted. Since that career highpoint, Jolie has fashioned an underwhelming career in big budget action movies, low wattage romances and a whole lot of unnecessary (though not unwelcome) nakedness. Her future still looks bright with Sky Captain and Alexander, but Taking Lives is yet another misstep in a career full of them.

Why an actor with such good radar as Ethan Hawke would choose to make this movie may be the biggest surprise of all. It's not that Ethan hasn't made a bad movie before but, generally speaking, he has a good eye for scripts and avoids formula Hollywood trash. Rounding out the cast of Taking Lives is Kiefer Sutherland in the Kiefer Sutherland role. Honestly Kiefer, fire your agent if he ever sends you a script like this again. How many times can Sutherland play oily creeps?

The film’s biggest disappointment is Caruso who wastes the talent. In transitioning from low budget to big budget, Caruso forgot the things that got him where he is. This film has none of the flare, inventiveness, or smarts of his first film. It's sad to watch Caruso simply translate a script to the screen with little to no style or substance. Taking Lives is one large step back for a director on the way up.

Movie Review: A Beautiful Day in the Neighborhood

A Beautiful Day in the Neighborhood (2019) 

Directed by Marielle Heller

Written by Noah Harpster 

Starring Tom Hanks, Matthew Rhys, Susan Kelechi Watson, Chris Cooper 

Release Date November 22nd, 2019 

Published November 20th, 2019

The new Mr. Rogers movie, A Beautiful Day in the Neighborhood, is a revelation. The story of an Esquire reporter, Lloyd, played by Matthew Rhys, who is assigned to profile Mr. Rogers for the magazine defies conventions in ways that are entirely unexpected and delightful. Director Marielle Heller has truly come into her own with this remarkable artful yet accessible movie that is not merely about the legendary PBS kids show host Mr. Rogers, but about all that he stood for and embodied. 

A Beautiful Day in the Neighborhood opens with that oh so familiar theme song of the same name. Here, however, it is sung by Tom Hanks, who portrays Mr. Rogers in a role that artfully incorporates elements of fantasy and reality. The opening Mr. Rogers Neighborhood segment is a fantasy that has Mr. Rogers introducing us to his new friend, Lloyd, a deeply troubled soul who writes for Esquire Magazine and struggles with being a new father while being estranged from his own father, Jerry, played by Chris Cooper. 

Lloyd has alienated so many people in his career that, according to his editor, played with gravitas by Christine Lahti, no one wants to be interviewed by him anymore. Only one person of note has agreed to an interview with Lloyd and that person is Mr. Rogers. The nice guy kids show host puff piece is not Lloyd’s style but with no other option on the table, he agrees and travels to Mr. Rogers’ neighborhood in Pittsburgh for the interview. 

Things are somewhat off-kilter from the start in A Beautiful Day in the Neighborhood and it is a risky proposition. Director Marielle Heller, fresh off of the Oscar nominated success of Can You Ever Forgive Me starring Melissa McCarthy, risks alienating the audience by immediately having Hanks’ Mr. Roger break the fourth wall and act as narrator of the movie, introducing the more straightforward, dramatic and familiar scenes. 

Heller then chooses to transition from scene to scene using the models right out of the Mr. Rogers Neighborhood set. It’s a style that evokes the esoteric direction of a Charlie Kaufman or Michel Gondry but in a decidedly more accessible fashion. A Beautiful Day in the Neighborhood is stylistically bold yet lacking in pretension. That’s likely owed to the subject, Mr. Rogers himself was notably unpretentious, a quality that Tom Hanks captures in his performance. 

Another bold choice that Heller makes is casting Hanks and Mr. Rogers in what is essentially a supporting role. The heavy dramatic lifting here is done by Matthew Rhys as Lloyd. The Emmy Award winning co-star of the hit drama The Americans, Rhys has the burden of being both a character in and of himself and the audience avatar, the one who must bring us closer to Mr. Rogers and help us to understand what made him special. 

Rhys’ performance is brimming with life and complex emotions. His backstory is brilliantly layered into the storytelling and Rhys evokes his past trauma effortlessly with his expressive, sad eyes. The scenes of Lloyd interviewing Mr. Rogers are challenging and fascinating. There is a threat that Mr. Rogers might come off as too all-knowing and benevolent as he gently yet inquisitively probes Lloyd’s obvious emotional wounds. Rhys and Hanks are remarkable for how well they ground these charged conversations in a way that feels authentic to the movie and to the memory of Mr. Rogers. 

Lloyd is exactly the kind of person who needs the kinds of lessons that Mr. Rogers taught on his show. These are lessons of compassion, forgiveness and understanding that Lloyd missed out on as a child due to his myriad traumas. Having to learn these lessons as an adult via becoming a parent with his wife Andrea, played by Susan Kelechi Watson, and by the re-emergence of his estranged father, Jerry,  finds Lloyd emotionally ill-equipped and Mr. Rogers offers unexpected guidance. 

What an absolutely lovely way to tell this story. Director Heller and screenwriters Micah Fitzerman-Blue and Noah Harpster, could have taken the easy way out, cast Tom Hanks as Mr. Rogers and call it a day. Instead, they chose daring and artful devices to reveal the way Mr. Rogers affected so many lives in so many ways and do it in a fashion that takes his lessons from the simplicity of childhood to the complexity of adulthood. 

Now that I have seen it, I can’t imagine it being dramatized any other way. I had feared that 2018’s Mr. Rogers Neighborhood documentary, Won’t You Be My Neighbor, would render A Beautiful Day in the Neighborhood redundant. Instead, what we have is an even greater tribute to the legacy of Mr. Rogers, a film that masterfully evokes Mr. Rogers’ best qualities while not making Rogers out to be a saint or a metaphorical martyr for some notion of family values. 

Beautifully captured, boldly emotional and deeply affecting, A Beautiful Day in the Neighborhood ranks as one of the most moving filmgoing experiences of my life and one of my favorite films of 2019, a year that is truly coming alive with incredible movies.