I, Tonya (Gillespe; 2017)

The purpose of a biopic, next to entertainment, is to show the audience how the writer and director of the film view a particular person and their story or place in history.  Normally, the view is positive, though some of the best biopics focus on some of history’s more nefarious individuals, and often the film’s creators try to be as objective and realistic as possible, but when Steven Rogers was interviewing the main figures involved in Tonya Harding’s career and found that none of them were telling the same story, he found his hook that would make the Tonya Harding biopic I, Tonya unique.  These interviews would actually be staged inside the film (with the actors playing the characters acting out the interview, not the actual interview subjects) and as the story plays out Tonya Harding (Margot Robbie), Jeff Gillooly (Sebastian Stan), and Tonya’s mother LaVona Golden (Allison Janney) would break the fourth wall and let the audience know exactly what they think of the particular interpretation of the scene they are currently partaking in as if they were still in mid-interview.  Every character, while they were a part of the story, has their own version of it.  In I, Tonya truth is subjective.


That subjectivity is the focal point of the writing in I, Tonya, and makes for an exceptional take on the biopic.  While fourth wall breaking and self-awareness in film is hardly new, in fact, it’s becoming something of an overused trope, the fact that the story of I, Tonya is not only true but also one most of the people seeing the film witnessed via television news at the time of the events brings a new life to the tropes which keep them from being overly cutesy.  It also means that the film ends up taking on a tone which is as much comedy as drama and this is important to the themes of the film, as well.  As Harding herself says at one point in the film first she was loved by everyone, then hated, then she became a punchline.  I, Tonya uses the world’s perception of her masterfully by alternately playing to those perceptions then subverting them, using the punchline perception of her and her companions to get us to laugh, then using the love and hate perceptions to peel back the curtain and show us just what it is we’re laughing at.  It’s a masterfully written film which uses subjective truths to allow for a story which is comic and tragic, inspirational and incriminating, beautiful and repugnant all at the same time without ever feeling inconsistent nor without ever breaking stride.

We generally tend to equate a great performance with embodying and understanding a character, and this is definitely an element of performance which has to be covered in order to be great, but the very best performances go beyond character and show that the actor understands the themes, tone, and message of the entire film.  That being the case, I, Tonya gives us a trio of truly remarkable performances.  Margot Robbie is the anchor embodying a Tonya Harding who is charming and sympathetic, but who we can also see is constantly making excuses for the fact that she allows others to control her life and probably isn’t even conscious of the fact that she does this.  Sebastian Stan is a great Jeff Gillooly who truly loves Tonya but is unable to recognize his own immaturity which causes him to lash out whenever it seems he may be in danger of losing her or whenever he comes close to recognizing his own failings.  Allison Janney may be best of all as the mother who both loves and resents her own child, who wants the best for Tonya but also despises her for the sacrifices Tonya is forcing her to make.  All three of the primary cast members give us not only fully realized people, but people that embody the themes of subjective truth in the way they are only able to see the half of their own reality which makes them out to be a good person and not the half of themselves which the world would consider ugly or a weakness.


With one of the greatest scripts of the year and three of the finest performances, it’s almost like I, Tonya’s director of cinematography Nicolas Karakatsanis and film editor Tatiana S. Riegel decided they wouldn’t be outdone and on top of everything else gave us one of the most visually beautiful and intricate films of the year, as well.  From the sweeping shots of Tonya on the ice rink to the more intimate conversations shot from the perfect distance and angles with perfectly timed cuts to the long seemingly unbroken pans which must have involved some trickery in order to work.  While there were a few visuals which had me immediately gasping from the incredible talent on display, most of the film’s visual genius crept up on me later as I thought over certain performances and the film’s overall message and realized just how much the camera work added to both of those elements.

That’s actually a good way to describe I, Tonya overall.  It’s a film that creeps up on you with its genius.  Leaving the theater, I knew I had seen a really good movie, but I wondered at how authentic it was.  Was Tonya really such a tragic figure or is that just the filmmakers manipulating their audience to make their story more digestible?  Could the people involved in one the most famous crimes of all time really have been that stupid and/or ignorant or was it played up for comic effect?  As I thought more and more about what I had seen I realized that most of the usual questions one asks about a true story were questions that missed the mark.  This wasn’t meant to be half education half entertainment as most biopics are, but instead is an honest to goodness art film which also manages to be hilarious and crowd-pleasing in a way very few art films are.  It never intends to be authentic, it never intends to tell us the truth.  What it intends is to show us how each of us makes the truth a personal thing and that objectivity is an ideal which can never truly be achieved even if it’s something we should strive for.  But, it sugarcoats this rather depressing message in a true crime story about the world’s worst criminals so that we can take this message in in its entirety without even noticing that’s what’s happening.


Final verdict:  I, Tonya is a movie that after a few days contemplation I have decided is not just really good, but is, in fact, a borderline masterpiece and one of the very best films of 2017.  Every single element of the film, except perhaps its too on the nose score (I liked it, but I know it will annoy more than a few), is near perfect.  It’s a film that uses many different forms of dishonesty in an attempt to not just expose the truth but to actually teach us what it means for something to be true.  This is one I not only recommend, this is one I ask you to rush right out and see so you can see the gorgeous visuals in larger than life proportions while simultaneously laughing and pondering things you thought you knew were true.



Eddie the Eagle (Fletcher; 2016)

Upon hearing about Eddie the Eagle I immediately knew that Hollywood was giving us another maudlin, stereotypical, sickeningly sweet feel good sports movie.  What else could it be?  You can check off all the cliches as you watch the trailer.  Plucky, but flawed hero meets cynical and also flawed mentor whom the hero manages to win over through determination and heart.  There will be inspirational speeches, a time when all seems lost, and heartwarming lessons about life learned through overcoming adversity.

About 20 minutes into the film, though, as I was checking off the list of underdog sports film tropes off in my head there was a scene I didn’t see coming.  Something that set Eddie the Eagle apart from other films that share its genre.  I won’t say what it was, but it was something that sprouted very organically from the subject matter of the film, something that made perfect sense, wasn’t at all a gimmick, yet still set Eddie the Eagle apart from the other films of its ilk.  Suddenly, the film grabbed me.  I was invested, my cynicism was being lifted away, and I was now hoping that Eddie the Eagle could, in fact, show me that it contained greatness.


I really can fly!  Now, I just have to stick the landing!

Unfortunately, that greatness was fleeting.  As after just a few stabs at the quality that set it apart from its brethren, Eddie the Eagle went back to being the cliched, maudlin film that it seemed to be from the start.


I bet you’d rather see a movie about the agony of defeat guy, eh, Shaun?

Aside from its sin of predictability, there’s nothing really horrible to say about Eddie the Eagle.  Both Taron Eggerton as Michael “Eddie the Eagle” Edwards and Hugh Jackman as his initially grudging but ultimately bestest friend coach, Bronson Peary,  give charming, likable performances.  Neither brings anything new to their role, but they both have heaping helpings of charisma to make up for it.  The dialogue is never problematic and can often be downright engaging, and the cinematography does its work and, well let’s just say it is the component of the film that gave me my fleeting moment of fandom mentioned above.

Eddie the Eagle, in case you can’t tell already, is a film I am very mixed on.  The critical side of me sees an awful lot of mediocrity and cliche here, but despite that, I still left the theater with a smile on my face, and perhaps even the very beginnings of a fist pump.  If you are already a fan of the genre, and I know at least a few of you reading this are, Eddie the Eagle is one of the better examples of its kind, and even if you’re not I’d still recommend checking it out one day when it makes its way to cable and streaming services.  It may not be a bastion of originality, but its got so much heart even a curmudgeon like me has to sit up and take notice.

Rating:  5.0 out of 10