In docudrama First Man, pilot and engineer Neil Armstrong (Ryan Gosling) and his family suffer a terrible loss.
His personal life and duties at NASA collide, while, at the same time, America seeks to beat the Soviet Union to the moon.
Despite the inevitable outcome, First Man is effective at keeping viewers on their toes and invested in the drama.
Director Damien Chazelle takes an entirely different approach to his previous films, Whiplash and La La Land.
Whereas those efforts highlight colour and emotion, First Man – like its main character – remains cold throughout its two hour, 20 minute run-time.
Gosling brings back his soft-spoken, hypnotic side, previously seen in Drive and The Place Beyond the Pines.
While Gosling remains stoic, Jason Clarke, Kyle Chandler, Claire Foy, and Patrick Fugit are energetic in supporting roles.
Although flawed, First Man is a fascinating and necessary docudrama about technological marvels, the willingness to succeed, and the human spirit.
Armstrong’s journey is as compelling as his destination.
Bad Times at the El Royale
On a humid, rainy night, a collection of strangers gather at a hotel on the border of California and Nevada in the late 1950s.
Priest Dock Kelly (an ever-reliable Jeff Bridges), struggling singer Darlene Sweet (Cynthia Erivo), and vacuum salesman Dwight Broadbeck (Jon Hamm, Mad Men) meet young concierge Miles (Lewis Pullman).
Later in the evening, sisters Emily (Dakota Johnson) and Rose (Cailee Spaeny) show up to hide out from a mysterious cult leader (Chris Hemsworth).
Bad Times at the El Royale is a big, ol’ bowl of crazy with a touch of class and splashes of violence.
Back in the director’s chair after 2012 horror-comedy Cabin in the Woods, acclaimed screenwriter Drew Goddard has crafted an indulgent love-letter to 1990s crime-dramas.
Indeed, Quentin Tarantino’s influence seeps into every gorgeous frame.
However, Goddard makes the mistake of drawing almost direct parallels to Tarantino’s earlier efforts.
Whereas Reservoir Dogs and Pulp Fiction fly by, Bad Times at the El Royale nearly crumbles under its unnecessary 140-minute run-time.
Its endless series of flashbacks and flourishes will keep some on the edge of their seats, while others will lose interest.
Goddard’s latest is brash, unwieldy, and not for the faint of heart.
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