Pinocchio a timely, dark tale of resistance
While there have been numerous versions of Carlo Collodi's book, Guillermo del Toro's Pinocchio is a distinctly darker, more poignant take on the oft-told tale. Set in Italy at the dawn of World War II, Gepetto (David Bradley) is still mourning the death of his son some 15 years early and drunkenly carves a boy from wood one night, randomly wishing his departed child were still alive. The next morning, he finds his wish has come true via Pinocchio (Gregory Mann), an agent of chaos who disrupts the local village, church and school.
Much of the story remains the same – Pinocchio's ill-fated time in show business, the grisly encounter with a gigantic sea monster – but the subtext is different. Instead of being on an island for bad boys, he and his peers are sent away to become soldiers, our hero's sense of independence bridling at the notion of conformity. While those who follow Mussolini's doctrine may willingly have their strings pulled, Pinocchio refuses, his actions an example of dissension as timely today as it was 90 years ago. Using stop-motion animation brings these characters to life in a way they haven't been before, these wooden figures ironically as expressive as any human actor. Streaming on Netflix.
Nanny an effective, slow-burn thriller
Regarding Nikyatu Jusu's Nanny, my fear is that viewers will not give this intelligent thriller the patience it requires. The very definition of a slow-burn, it takes its time establishing a rich story that contributes mightily to its powerful, poignant conclusion. Aisha (Anna Diop) is an African immigrant living in New York City. Longing to bring her son to join her, she secures a job as a nanny for a well-to-do couple. She bonds with her charge, Rose (Rose Decker) but there's something amiss with her parents Amy (Michelle Monaghan) and Adam (Morgan Spector). Tensions rise when Aisha isn't paid promptly or regularly, while disturbing dreams involving her son only add to her stress.
To reveal more would do Jusu's script an injustice, but before all is said and done, elements of African folklore come into play and Aisha's dreams prove to be more significant than expected. The filmmaker revels in the slow reveal; however, Diop proves to be such a compelling performer we're hooked for the beginning, sympathizing with Aisha's plight. The ending is a bit rushed, but no matter – it sticks with you, delivering the sort of emotional charge that's all too rare in movies of this sort. Streaming on Amazon Prime.
Tiffany's gets by on charm
There's not a single original thing in Something from Tiffany's. You know exactly where it's headed as it contains nary a surprise. And yet, somehow it works. Rachel (Zoe Deutch) runs a Manhattan bakery and is stunned when she gets an engagement ring from her self-absorbed boyfriend, Gary (Ray Nicholson), on Christmas morning. Across town, Ethan (Kendrick Sampson) is equally surprised when his girlfriend, Vanessa (Shay Mitchell), opens her present to find some really nice earrings, not the engagement ring he bought for her. Seems as though Ethan and Gary were at Tiffany's at the same time and their bags were switched! Chaos and confusion ensue.
Director Daryl Wein knows we are covering well-trod narrative ground and wisely keeps things moving at a brisk pace, the film coming in at under 90 minutes. What keeps us engaged are Deutch and Sampson, their chemistry so palpable, we excuse the clichés they’re forced to deal with. In their capable hands, it seems as if these well-worn conceits are happening for the first time, a tribute to their ability to make any situation believable. They and their co-stars exude charm, making this lightweight entertainment more enjoyable than it has a right to be. Streaming on Amazon Prime.
