“Thoughts & Prayers,” premiering Tuesday on HBO, is a documentary film about the $3-billion “active shooter preparedness industry,” that space where American failure meets American entrepreneurism. Though it approaches its subject with a certain formal neutrality, the title, a phrase now synonymous with political emptiness, does suggest a point of view. (Its subtitle is “How to Survive an Active Shooter in America.”)
That industry includes various forms of training involving teachers, students and first responders and products theoretically created to increase security — locks, alarms, robot dogs, bulletproof backpacks, bulletproof glass and bulletproof shelters that sit in the corner of a classroom. One company will put an image of your choice on a bulletproof wall hanging and sells a “skateboard [that] will outperform any other skateboard on the market, but it’s also a self defense shield.” “Every time there’s a tragedy, it economically benefits my family,” its founder admits. “We could be a $300-million company by the time this documentary airs.”
One company makes tourniquets “easy to apply in case of a mass casualty incident”; another specializes in latex bullet wounds for use in mass shooter drills: “the gunshot through and through to the neck … the multiple gunshot wound to the abdomen.” One senses in these endeavors a not insincere overreaction that substitutes for political action, shifting responsibility onto potential victims and accepting the problem as intractable. (Or as the Onion headline, published 38 times since 2014, has it, “No Way to Prevent This, Says Only Nation Where This Regularly Happens.”)
Directed by Zackary Canepari and Jessica Dimmock, it’s a sad black comedy, an Errol Morris sort of subject, shot in an Errol Morris sort of way — formal, neutral. The cinematography, by Jarred Alterman, is quite handsome and composed, amplifying the seriousness and eeriness, but also the banality and absurdity of the matter. Subjects face the camera head on, sometimes to speak, sometimes to sit silently for a portrait that might find them covered in fake blood and wounds from a role-playing exercise. The film gets a lot of mileage just settling on faces, tracking reactions, or lack of reaction. The camera is static, steady; action moves in and through the frame, sometimes in slow motion, like movie violence. This observational approach is regularly undercut, unfortunately, by a heavy-handed soundtrack that makes the film feel less trustworthy. It’s an aesthetic and rhetorical failure, but not a fatal one.
The documentary states that 95% of American school children practice lockdown drills.
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(HBO)
More than 20 million adults have had active shooter training, learning how to keep doors shut or disarm a shooter, participating in multiplayer video simulations. In Provo, Utah, teachers learn to shoot. (“Breathe in through our nose, out through your mouth — let all that tension come out of you.”) But “Thoughts & Prayers” is most powerful when looking at or listening to the kids: 95% of American schools, we’re told, practice lockdown drills, which can begin as early as Pre-K (with “dinosaurs” substituted for gunmen, to, I don’t know, reduce trauma).
The film’s last act follows a massive reenactment at a Medford, Ore., high school, where a “mass casualty drill” was scheduled after a janitor turned himself into police before acting on homicidal thoughts. (They discovered many weapons in his home, and a written plan of attack.) Kids, made up as victims, litter the halls and gym field. Masked “shooters” go room to room. The police chief gives, as a sign on the podium reads, a “fake press conference.”
“This is the reality, this is where we are in this country, where we are in this valley,” says the school superintendent afterward. “But I do not want to lose the fact that it is still a sad thing that we have to do this. Still, you may wonder what good it will actually do, and hope not to find out.”
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What passes for a gun debate is relegated to some warring soundbites from the floor of Congress, and the opinion of one trainer (named Thrasher) that guns aren’t the problem, but “family structures” and “the lack of tribalism.” But here’s Quinn, a high school freshman from Long Island, N.Y., as close as anyone here gets to addressing the issue. It’s worth giving her the last word.
“I don’t think that a lot of adults care about our opinions. We go through this every single day. We go through, like, being afraid of going to school because we might get shot, or we might lose a friend, or we might lose a teacher. And a lot of people care about their … rights, I guess, more about, ‘Oh well, I want to have the ability to own a gun, and so I don’t care if you get shot in your class.’ It’s just kind of disheartening. ‘Cause it’s like, oh, you care more about yourself than all of the students in America.”
You can call me one-track-minded or say that I focus on the wrong things, but do not include an element that I am then expected to forget. Especially if that “element” is an animal – and a dog, even.
In No More Time, we meet a couple, and it takes quite some time before we suddenly see that they have a dog with them. It appears in a scene suddenly, because their sweet little dog has a purpose: A “meet-cute” with a girl who wants to pet their dog.
After that, the dog is rarely in the movie or mentioned. Sure, we see it in the background once or twice, but when something strange (or noisy) happens, it’s never around. This completely ruins the illusion for me. Part of the brilliance of having an animal with you during an apocalyptic event is that it can help you.
And yet, in No More Time, this is never truly utilized. It feels like a strange afterthought for that one scene with the girl to work, but as a dog lover, I am now invested in the dog. Not unlike in I Am Legend or Darryl’s dog in The Walking Dead. As such, this completely ruined the overall experience for me.
If it were just me, I could (sort of) live with it. But there’s a reason why an entire website is named after people demanding to know whether the dog dies, before they’ll decide if they’ll watch a movie.
Scarlett Johansson wasn’t on the hunt for a feature film to direct when she was sent “Eleanor the Great,” about a 90-something woman who reminded Johansson of her own sparky grandmother. But Tory Kamen’s script arrived with a cover letter from Oscar nominee June Squibb.
“I was really interested in what, at this stage, June wanted to star in,” she says. “I was compelled to read it because of that.”
What Johansson also learned is that Squibb, star of last year’s acclaimed caper “Thelma” and the voice of Nostalgia in “Inside Out 2,” adds extra gloss to a project and is genre-adaptable. Since “Eleanor,” she’s wrapped shooting on an indie mockumentary called “The Making of Jesus Diabetes,” starring and produced by Bob Odenkirk. (“Bob and I know each other from ‘Nebraska,’” she says. “He asked and I did one scene.”) Currently, she’s in the play “Marjorie Prime,” her first appearance on Broadway since “Waitress” in 2018, when she stepped into the role of Old Joe, previously occupied by Al Roker. (“They made [the character] into a lady for me.”)
Recently, Johansson and Squibb got together via Zoom to discuss lurching process trailers, how Squibb bonded with co-star Erin Kellyman (who plays Nina, Eleanor’s college-age friend), and the trick to playing a character who tells a whopper at a Holocaust survivors’ support group based on her dead best friend’s experience.
Squibb, left, Erin Kellyman and Chiwetel Ejiofor in “Eleanor the Great.”
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(Jojo Whilden / Sony Pictures Cla)
What does a first-time director plan for Day One of a wintertime shoot in New York?
Johansson: The first thing we shot was [Eleanor and Nina] arriving at Coney Island. It wasn’t easy. We were outside. It was cold. It was a little hectic, but we figured it out. Then we had to do this thing in a car, and it was just miserable. Nobody wants to shoot a scene being towed in a car. There are all these stops and starts. You get nauseous. I felt terrible about that. But it was good for June and Erin.
Squibb: We had a lot of time that day together and we liked who each other was. It was just easy.
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June, you believe in showing up fully prepped, on script. Did you and Scarlett talk a lot about Eleanor?
Squibb: I’m sure we talked over that first two weeks, but I think we started delving when we started shooting. I can’t say this enough, but her being the actress she is? It just helped me tremendously. I felt so relaxed, like she knew what I was doing.
A less charismatic actor might have trouble pulling off this character. Eleanor can be so impertinent, yet the audience still has to like her.
Johansson: The tightrope June walks is that she’s able to be salty, inconsiderate and rude as the Eleanor character, then balance it out with quiet moments where you see the guard slip. You see the vulnerability of [Eleanor]. June plays that so beautifully.
June, in 1953, you converted to Judaism. Scarlett, how important was it to have Eleanor played by a Jewish actress?
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Johansson: It was definitely important to me, and it became important to the production too. We had tremendous support from the Jewish community. We brought the script to the Shoah Foundation and they helped us craft [Eleanor’s best friend] Bessie’s survivor story.
(The Tyler Times / For The Times)
Did they also help you find real-life Holocaust survivors — like Sami Steigmann —that you cast as support group members?
Johansson: It was a real group effort. Every time someone joined, it was a huge celebration. We got another one! At the time there were, like, 225,000 [survivors] worldwide. It gets less every year. I think only two of [the survivors in the group] knew each other previously. None of them had ever been on a film set before, and they were so patient with us.
Squibb: We just sort of passed the time of day. Sami, who was sitting next to me, and I chatted. It was all very relaxed. They were having a good time. They were interested in lunch. I remember that.
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Johansson: I talked to everyone individually. Quite a lot of them are public speakers and share their stories. It’s amazing. You’re talking to people in their 90s about an experience they had when they were 7. Their stories are so vivid in their minds. Sami told June that sharing the story is part of the healing.
June, for a bat mitzvah scene you memorized a complicated Torah portion. How did it go?
Squibb: It wasn’t easy to learn. I didn’t do it overnight. But we were in a beautiful synagogue, and it was great to stand there and do it. I enjoyed it.
Talk about finding out that it didn’t make the final cut.
Squibb: I think the first thing I asked [Scarlett was], [sounding peeved] “Where did my Torah portion go?” [laughs]
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Johannson: It was, like, “What the hell happened?” [laughs, then winces] I really struggled. But every way I cut it, it didn’t work so it just had to go. I was pretty nervous to show it [to June]. I said to Harry, my editor, “She worked so hard on it.”
How about that five-minute standing ovation when “Eleanor” has its world premiere at Cannes?
Squibb: It was just terribly exciting. We hugged each other a lot. And Erin was there, and she was in our hug too. I kept thinking, “We’re not even at a lovely theater in America. My God, this is an international audience here and they’re loving it.” And they did.
The Timothée Chalamet movie that’s arriving on Christmas Day is “a 150-minute-long heart attack of a film,” said Nick Schager in The Daily Beast. In “a career-best turn” that’s “a feverish go-for-broke tour de force,” Chalamet plays Marty Mauser, an aspiring table tennis champ in 1950s New York City who’s ready to lie, cheat, and steal for the chance to become the best in the world. This first film from director Josh Safdie since 2019’s Uncut Gems turns out to be a character study that “doubles as a cracked American success story,” said David Fear in Rolling Stone. Marty is a scrawny kid with a pathetic mustache, but he’s also a fast-talking grifter with supreme self-confidence, and his game earns him a trip to London and the world championship tournament before a humbling stokes his hunger for a comeback.
Surrounding Chalamet is “a supporting cast you’d swear was assembled via Mad Libs,” because it features Fran Drescher, Penn Jillette, Tyler the Creator, Shark Tank’s Kevin O’Leary, and—as a faded movie star Marty sweet-talks into an affair—Gwyneth Paltrow, “reminding you how good she was before Goop became her full-time gig.” To me, it’s the story beneath the story that makes Safdie’s “nerve-jangling, utterly exhilarating” movie one of the best of the year, said Alissa Wilkinson in The New York Times. “It’s about a Jewish kid who knows just what kind of antisemitism and finely stratified racial dynamics he’s up against in postwar America, and who is using every means at his disposal to smack back.”
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‘Is This Thing On?’
Directed by Bradley Cooper (R)
★★★
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“There are far worse things that a gifted filmmaker could offer an audience these days than a feel-good divorce comedy,” said Owen Gleiberman in Variety. But it’s still slightly disappointing that screen star Bradley Cooper has followed up A Star Is Born and Maestro with this minor work, due Dec. 19, about a father of two who starts doing stand-up in New York City to cope with the likely end of his marriage. With Will Arnett and Laura Dern as its co-stars, Is This Thing On? is “an observant, bittersweet, and highly watchable movie,” but it’s also so eager to hide the agonies of divorce that it “can feel like it’s cutting corners.”
The 124-minute film “doesn’t really get going until hour two,” said Ryan Lattanzio in IndieWire. Until then, it’s “lethargic and listless,” slowed by long takes “that drag on and on.” Fortunately, Arnett and Dern have real chemistry that kicks in when Dern’s Tess accidentally catches Arnett’s Alex performing his bit about their sidelined marriage and sees him with new eyes. Good as Arnett is, “it’s Dern who’s the revelation as a woman who truly doesn’t know what she wants and is figuring it out in real time,” said Alison Willmore in NYMag.com. Cooper, playing a reprobate friend of Alex’s, gives himself the script’s biggest laughs. More importantly, he proves again to be a director with “a real flair for domestic drama.”
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