Director: Brett Haley
Writers: Brett Haley, Marc Basch
Stars: Nick Offerman, Kiersey Clemons, Ted Danson, Toni Collette, Sasha Lane

Synopsis: A father and daughter form an unlikely songwriting duo in the summer before she leaves for college.

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Brett Haley’s Hearts Beat Loud is the movie that 2018 needed. It’s a film full of heart, laughter, joy and humanity – the exact remedy to a polarized society that finds itself drowning in anger and divisiveness. There is endless charm to Hearts Beat Loud and the experience will leave you full wanting more of these characters.

The film centers on father-daughter duo of Frank (Nick Offerman) and Sam (Kiersey Clemons) during the summer before Same leaves for college. Frank is a widower and Sam is all that he has left. So, this is his last chance to bond with her before his nest becomes empty. Since they both love music, the two of them decide to jam and work on some music together. In particular, they create a song called “Hearts Beat Loud” that garners some notoriety, and it puts some doubt in Sam as to what her next step in life will be. Additionally, Sam falls in love with Rose only complicating her dilemma.

Hearts Beat Loud has an irresistible allure, but what makes it rich is that it quintessentially avoids exposition and unnecessary details that many films tend to get trapped in. Haley and Marc Basch’s screenplay is not interested in explaining things about these characters or where they find themselves in this story. Instead, the film presents them as who they are right now, and allows for the audience to catch up and fill in the missing gaps on their own as the story progresses. As a result, we find out details such as Frank being a widower, Frank being a musician before Sam was born, Sam being the daughter of a bi-racial couple, that Sam is gay and we even find out what happened to Sam’s mom (Frank’s wife). However, those nuances are offered naturally as they would happen in conversation. In some cases they come through imagery alone. The film never relishes in these details and Haley never points a finger at them. He simply presents Frank and Sam as they are right now in their lives, and how that relates to their current emotional state.

Haley’s subtle and naturalistic approach makes Frank and Sam, and their connection in this film, that much more authentic and attainable. He trusts in the audience to participate and be smart enough to put the pieces of the puzzle together in a way that is bold and even daring given certain jumps in time. For my money, it’s some of the best filmmaking I’ve seen in 2018.

Hearts Beat Loud also thrives because of Nick Offerman and Kiersey Clemons, an odd paring that seems like it shouldn’t work on paper. They look nothing alike, yet on screen they could not be more palpable. They have a chemistry that is magnetic, which helps compliment Haley’s writing, and in turn it makes their father-daughter dynamic more than believable.

Offerman needs more leading roles that allow for him to flex his scruffily and rugged muscles. He’s really good here as Frank. He’s balances out his dramatic performance with well-timed humor in a way that felt incredibly seamless. Clemons is equally as great and demands the screen. The camera is in love with her and she emulates an exuberance that is a breath of fresh air. Sasha Lane is also great as Rose in this film. I didn’t love American Honey like most others seemed too, and I honestly feel like she’s better here. She reverberates a lovable charm herself that gives credence to her relationship with Sam. Ted Danson and Toni Collette also offer supporting roles that help make the film sublime. Danson is especially hysterical.

The concoction of Haley’s writing, and how he uses the camera to focus on ambiguity, and the performances in Hearts Beat Loud lead to some of the best scenes of the year. In a music store near the end, Frank and Sam are playing some of their music together and Haley captures this with astounding craftsmanship. The sequences play out like a music video in some ways, but it feels true to the moment and the relationship of Frank and Sam. What works best about the scene is how Haley lingers on the reactions of these players. During one song there’s an extended shot of Rose emoting from Sam singing to her, and Lane lights up the screen. There’s another moment where Frank reacts to Sam questioning whether she should stay home with her dad instead of going to school, and Offerman’s ability to act with his eyes is mesmerizing and poignant. The whole sequence is a delight from beginning to end.

I cannot recommend Hearts Beat Loud enough. While the screenplay lacks exposition, that doesn’t mean it doesn’t have nuance. There are many layers to these characters that come about in ways that are somewhat unexpected. Their motives feel genuine and give this film a warmth that is comforting. It’s a captivating piece of cinema that fundamentally showcases why connection and bonding is important to coping with life’s hefty turns. Also – it’s just really fun. The music is great, the characters are wonderful, the story is sweet and sometimes that’s what we need to escape for two hours these days.

Overall Grade: A

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Director: Gary Ross
Writers: Gary Ross, Olivia Milch; George Clayton Johnson, Jack Golden Russell (characters based on)
Stars: Sandra Bullock, Cate Blanchett, Mindy Kaling, Awkwafina, Rihanna, Sarah Paulson, Helena Bonham Carter, Anne Hathaway, James Corden, Richard Armitage

Synopsis: Debbie Ocean gathers an all-female crew to attempt an impossible heist at New York City’s yearly Met Gala.

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OK, seriously, why is the wholly girl-powered spinoff of Steven Soderbergh’s Ocean’s Trilogy is still in one piece? Like 2016’s Ghostbusters, it has femmes doing what the fellas have done! There are twice more the number of gals here, too! Sandra Bullock is a philanthropist and she’s the team leader, so there’s a full-blown SJW! Boys, where are you all?!

Actually, just hush. Muzzle that debasing campaign you’re thinking of igniting or those litmus tests you’re about to host. Everyone in Ocean’s 8 aims to impress — not to hear regressive spiel, in other words — and “with zest” plus “with gloss” are the aptest descriptors for how that job went down.

Right after promising that “a simple life” is all that will be pursued after a five-year stint, Debra “Debbie” Ocean (Sandra Bullock) signals her best genes — those that steal — that it’s safe to reemerge. New cosmetics? Tell the clerk they’re returns. Someone checking out of their hotel suite? She’ll re-check in under their names. According to promotional writings, Debbie is an “estranged sister” to (the now-dead) Danny, and yet that banquet-ready look, cool-flame magnetism and purloining prowess, which Bullock depict with built-in spark, has her more like his double. In that spirit, it’s time to recruit some folks to loot a loaded target — actress Daphne Kruger (Anne Hathaway), or specifically her neck which is to be wrapped with six pounds of Cartier diamonds for the Met Gala.

The ensemble essence, the backbone of the other Ocean’s three heists, is what Ocean’s 8 doesn’t form as well as it wanted to. As seen in Free State of Jones, that is director Gary Ross’ foible: having to manage two-plus number of players, in this case near-10. Unlike that Civil War-set yarn, however, there is more than one cast member — the “Louise” to Debbie’s “Thelma” (Cate Blanchett); an Indian jeweler seeking independence from family (Mindy Kaling); a curbside sleight-of-hand mistress (Awkwafina); a non-Russian-and-very-Rastafarian hacker (Rihanna); a skittish fence-turned-mother (Sarah Paulson) and a hapless dresser (Helena Bonham Carter) — who each can easily summon the kind of fizz that eases Ross’ trial. It also lets some of the squad members overpower the stereotypes — strictly surface-level, thankfully — that have been woven into their characterization.

But the brightest belle of the break-in? Hathaway. The actress is a firecracker being Daphne, the mark with extra instead of blood in the system (diamonds are acupuncture points pressed rather than a girl’s best friend!) and this habit of hunting you down because you haven’t pampered her. There’s only gold to gather seeing Daphne as the virago who wears designer brands (all those days at Runway finally changed you, huh, Andy?), or the “Anne Hathaway” that the web’s wicked-tongued has tirelessly manufactured.

On that note of “gold,” the glam-fond fiend among us will have a swell time watching Ocean’s 8. “Do not run a job within a job,” Lou said to Debbie, and recalled the latter’s brother’s screen debut, at one point, but that’s the game the visual department is playing here. And under the “Ocean”-ship of costume designer Sarah Edwards, they almost steal the film away. Barrier comes in the form of Olivia Milch and Ross’ scribing, which devoted a sizable effort to make the getting-even subplot involving Debbie’s wanker ex, Claude (Richard Armitage), tick. Though unfold with little carefreeness that is somewhat a discord to the rest of the footage, it installs relevance to the crew’s actions, along with this meta bit that Debbie has factored every player into her plan — those she can see and those who can see her.

Wait, does that make Debbie’s peers also some sort of “Ocean’s Avengers”? Can we think about this, or will it has the bros acting as if the lid of a certain Greek container is ajar? These eyes want to see Debbie and company evolve in their next pilfering, so maybe one will put the thought on hold for now.

Overall Grade: B

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