A United Kingdom (Amma Asante, 2016). It’s almost jarring to see a modern movie as staid in its dramatization of noble societal perseverance as A United Kingdom. Based on real history, the film follows the heartbreaking travails of Seretse Khama (David Oyelowo), member of the royal lineage of the Bechuanaland Proctectorate in Africa whose rightful ascendancy to leadership of his people is denied by the British government after he marries a white Londoner named Ruth Williams (Rosamund Pike). The couple endure brutish bigotry, often delivered with the added weight of government authority by figures of sneering, suit-jacket, administrative evil, including one played by Tom Felton, trapped forever as a angry, simpering Malfoy. Oyelowo and Pike both give nice, nuanced performances — and, not incidentally, there are utterly charming in their courtship and comfort as a couple — but the film moves with the clacking dramatic reticence of any of the well-meaning dramas of slow-but-sure social justice on the African continent that peppered art house calendars twenty to thirty years ago. Amma Asante directs as if she’s making a product suited for the genteel trepidation of the classroom rather than the more emotional landscape of true cinema.
Downsizing (Alexander Payne, 2017). Following a successful string of films in which director Alexander Payne found wry humor in the simplest human stories, the Nebraskan creator returns to the brand of stealthy, in-through-the-side-door satire of his first features. In the near-future, scientists combat the calamity wrought on the planet by clumsy humanity by shrinking a portion of the population down to roughly action figure size. Around that basic premise, Payne and his usual screenwriting collaborator, Jim Taylor, brick up a teetering tower of plot. There are interesting ideas throughout, but the entangled complexities ultimately become too unwieldy. It’s as if Payne tried to compress a full season of an HBO series into a couple hours. The methodology undermines the film’s strongest element, the generally strong supporting performance by Hong Chau, as an refugee who lost her leg in a gruesome human smuggling event. The screenplay defaults to often to brash generalities in the character. That Chau plays them with sprightly conviction doesn’t fully redeem the troubling shorthand.
Girls Trip (Malcolm D. Lee, 2017). This comedy about college friends reviving their annual vacation together with a raucous trip to New Orleans has only a wisp of a story, the post-Bridemaids conviction that females being bawdy is all that’s needed to generate laughs, and characters so confined to their basic types that its hard to fathom how the camaraderie every developed in the first place. It’s also got a performance from Tiffany Haddish that demands the coining of a term stronger than “star-making.” That’s plenty to give the film a reason for being. She’s utterly magnetic in the film and mercilessly funny in her fearless bravado. Much as Malcolm D. Lee deserves credit for smartly tilting Girls Trip to Haddish’s considerable strengths, he also takes a pedestrian approach to the visuals and pacing, which grow more problematic as the film adheres to the recent movies comedy trend of sprawling to a running team that’s at least twenty minutes too long.