SHOPLIFTERS (2018, Hirokazu Kore-eda)
Not among the most electrifying Palmes D’Or to come out of Cannes lately, but a sign that Kore-eda is getting away from the insecure, rigid formalism he hid behind in his 30s (though I adore MABOROSI). Now a middle-aged and experienced filmmaker, he’s loosened up and taken the character-first premise of STILL WALKING to a wiser extreme: this one is all observations and moments, quietly building to a forceful message about how you can choose your family, but said family can still contain the dysfunctions and complications of ones you’re born into. It’s a little confused and takes too many whip-saw turns in the last half hour, but the performances are so likable it’s not an easy film to dismiss.
BIRD BOX (2018, Susanne Bier)
Yes, it’s definitely THE HAPPENING meets A QUIET PLACE and fits somewhere between the two in quality. The strangers-locked-in-a-house-or-grocery-store scenario plays better in THE MIST and falls victim here to some thin characterizations and formulaic beats, but Bier’s heart is in Bullock’s Mallory, a reluctant mother with a lot of reservations about how to navigate the apocalypse burdened with too much responsibility. Extra credit for a biracial romance that not only ignores race, but also a marked age difference between them, where for a change it’s the woman who’s older. Unfortunately Bier’s direction falters when it comes to action and suspense, cheating on the visual rules too many times. (e.g. If we’re gonna be stuck in the car only having the parking sensors to tell us what’s near, then please don’t show anything on the outside until we get to the market — every time she cuts away to a body on the ground or a car in the road or a sidewalk or a parking lot, the effect is destroyed).