T2 Trainspotting (Danny Boyle, 2017). From the moment it was announced, director Danny Boyle’s choice to develop a sequel to his breakthrough film, Trainspotting, seemed highly suspect, a seemingly desperate creative retreat for a filmmaker whose recent projects — even when generally well regarded — just weren’t quite clicking. I was wrong. In peeping back in on the Scottish hooligan drug users twenty years later, Boyle and screenwriter John Hodge (working with characters created by novelist Irvine Welsh) craft a cinematic effort of stinging emotional bruises, grimly wise humor, and marvelous visual invention. The dabs of nostalgia, in the form of imagery echoes and musical cues (in one perfect moment, literally presented as a needle drop), are consistently presented with jolting ingenuity. It also helps that the various returning actors have all grown stronger at their craft. T2 Trainspotting is equal to its predecessor. It might even be better.
Game Night (John Francis Daley and Jonathan Goldstein, 2018). This comedy is essentially a riff on The Game, David Fincher’s 1997 feature that trapped Michael Douglas’s wealthy misanthrope in an enjoyably ludicrous LARP of dangerous riddles and mounting conspiracy. The regular gathering of board games and generous wine pours hosted by married couple Max and Annie (Jason Bateman and Rachel McAdams, respectively) is infiltrated by Max’s hotshot brother (Kyle Chandler), who wants to add a little excitement by hiring a company that specializes in elaborately dramatized mysteries, a little like an escape room place that makes house calls. Then the make believe mayhem coincides with real thugs storming, but the genial suburbanites think its still a harmless diversion. Mark Perez’s screenplay is clever and well-constructed, and directors John Francis Daley and Jonathan Goldstein (who were shockingly artless in their approach to the Vacation update) handle the plot’s complexities and splintered perspective with admirable skill. It’s the cast that really sells it, though, led by Billy Magnussen, who nails the requisite dumb guy role, and especially Rachel McAdams, who works wonders in a bar scene in which her character is delightfully invested in the whole affair.
RBG (Betsy West and Julie Cohen, 2018). Rather opportunistically, this documentary grabs ahold of the Supreme Court Justice who’s surged to unlikely superstar status in recent years and squeezes tight with lots of love. Ruth Bader Ginsburg’s career merits reverence as much for the gender discrimination cases she argued as an attorney before the highest court in the land as it does for her decades served as a justice. Initially a pragmatist, Ginsburg has become a bulwark for progressive values as new colleagues have skewed far to the right. Directors Betsy West and Julie Cohen deliver a survey more than a deep consideration on Ginsburg’s work and legacy, which sometimes keeps the film at such a surface level than it’s almost glib. Despite the flaws, Ginsburg — who gave the filmmakers ample access — shines through as a vital, inspiring presence.