MOONLIGHT (2016)

November 27, 2016

moonlight Greetings again from the darkness. It’s uncertain whether writer/director Barry Jenkins has developed the story from Tarell McCraney in order to highlight stereotypes, explain stereotypes, or both. The interpretation is up to the viewer, but what’s clear is that the film is one of the most sensitive portraits we’ve seen of growing up young, black, and sexually confused, while being mostly neglected by a drug-addicted mother.

Told in standard triptych structure, the film chronicles 3 stages in the life of a young male, with the chapters titled Little – Chiron – Black, for the names he is known by at each stage. As a 9 year old boy, “Little” (a nickname due to his small stature) is a wide-eyed near-mute who gets bullied and called names by the bigger boys. It’s at this stage where he is taken under the wing of local drug dealer Juan (Mahershala Ali), who offers a “safe place” to sleep and eat, with the bonus of swimming lessons accentuated by life lessons from Juan and his understanding girlfriend Teresa (Janelle Monae). It’s a poignant and painful moment when Little connects the dots between his mother (Naomie Harris) and Juan.

As a high school adolescent, Chiron is now a nervous, totally-withdrawn kid who simply doesn’t fit in – and doesn’t understand why. His high-crime Miami neighborhood is even more dangerous for him now as the schoolyard bullying is often accompanied by violent behavior. His surrogate father figure Juan is no longer in the picture, but Teresa is still there for him – always at the ready with a meal, clean sheets, and a spoonful of wisdom.

In the final chapter, we catch up with a hardened “Black” (another nickname) 10 years after high school followed by a stint in prison. He has moved from his Miami roots, and it’s at this stage where we fully understand the influence of a role model on a boy who has few. When he reconnects with childhood buddy Kevin, we see the shredded remnants of young “Little” still present in the older, experienced “Black”. This circle of life is understandable, while at the same time being nearly unbearable.

In addition to Mr. Ali and Ms. Monea (both who are excellent in the upcoming Hidden Figures), and the standout work of Ms. Harris, the six actors who play Chiron and Kevin through the years are fascinating to watch. Alex Hibbert perfectly captures the confused “Little”. Ashton Sanders plays the awkward, dreading-each-day Chiron; and Trevante Rhodes (former University of Texas athlete) plays the adult “Black” with a quiet uneasiness that resonates on screen. The 3 Kevin actors are Jaden Piner, Jharell Jerome, and Andre Holland (a standout as the adult Kevin).

Beautifully filmed in all three segments by cinematographer James Laxton, the film reiterates the importance of role models, especially in the life of those whose path seems pre-ordained by circumstance. The harsh realities of drug addiction, absentee parents, schoolyard bullying, and the almost inevitable stint behind bars are contrasted with a plate of fries, the chef’s special from an old friend, and the soothing effects of sand and sea. Encouraging our kids to be true to themselves is a lesson that can fall on deaf ears when surviving the moment is first and foremost. This incredibly sensitive film is likely either a necessary reminder or an eye-opening education … depending on your own situation.

watch the trailer:

 

 

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Posted by David Ferguson

MANCHESTER BY THE SEA (2016)

November 23, 2016

manchester Greetings again from the darkness. Grief. When a loved one dies, we experience a sorrow that is impossible to define. It can take on many different looks through various stages. When Lee Chandler (Casey Affleck) receives a phone call, he rushes back to his hometown, but arrives at the hospital too late to say goodbye to his big brother whose years-long battle with heart disease has ended abruptly. It’s at this point that we begin to realize there is more to Lee’s daily disquiet than we had realized in his early scenes as an apartment complex janitor.

This is director Kenneth Lonergan’s third directorial effort (You Can Count on Me, Margaret) and in each, death plays a crucial role. Mr. Lonergan is also a renowned playwright and screenwriter (Gangs of New York, Analyze This, Analyze That), and here he displays an incredible feel for humor and sarcasm amidst the ominous presence of gloom.

If you aren’t yet scared off, you will be rewarded with one of the most outstanding films of the year, and one of the best ever on-screen portrayals of grief. Casey Affleck embodies Lee as the broken man – a tortured soul who doesn’t blame himself for the unspeakable tragedy that destroyed his life, yet neither can he forgive himself. As penance, he has basically dropped out of society and moved to Quincy, where he lives in a dumpy apartment simply trying to survive each day shoveling snow and fixing leaky faucets. It’s his way of not facing the present while avoiding the memories that haunt him in his hometown.

The death of big brother Joe (Kyle Chandler) forces Lee to return to Manchester and handle the endless details of arrangements. He then learns that Joe’s will states that Lee is to take over guardianship of 16 year old Patrick (Lucas Hedges). As we learn from flashbacks, Lee and Patrick long ago bonded as Uncle/Nephew. Things are much different now – not just for Lee, but also for Patrick. He’s a popular athlete, musician and high school lothario … seemingly unwilling to accept the change brought about by the death of his father, and the long ago abandonment by his unstable mom (Gretchen Mol).

The flashbacks serve as the reference as to how this family and these relationships reached this point in time. We also see the devastating event that crushed Lee’s soul and left him unrecognizable from the one time life of the party, and doting husband and father. It also explains his approach to his unwanted duties in finishing brother Bob’s job raising Patrick, and why much of the town treats Lee as a pariah.

In addition to the brilliant writing and wonderful cinematography (Jody Lee Lipes), it’s the highest level of acting that elevates this film to the level of extraordinary. Ms. Mol and Mr. Chandler are joined in the supporting cast by Matthew Broderick as Ms. Mol’s evangelical husband, CJ Wilson as Bob’s former friend and partner, and Michelle Williams as Randi, Lee’s ex-wife. It seems like we have watched Lucas Hedges grow up on screen through the years, and he really nails the surprisingly complex role of Patrick. As terrific as all of these actors are, it’s Affleck who redefines grief and sorrow and pain. In fact, the single scene towards the end when Affleck and Williams meet by happenstance, is so powerfully acted that it alone should garner nominations for each. It’s a gut-wrenching scene that tells us sometimes reconciliation is just not possible.

This is a heavy drama set in a cold environment with hard people – at least on the outside. It’s not the typical Boston blue collar drama, but rather more the psychology of being a man. There is enough humor to prevent the weight from being too much on viewers, and Lonergan pokes a bit of fun at the Massachusetts accent by tossing in arguments about Star Trek and sharks, and a scene about parking the car. The diverse music of Handel, Dylan, and Ella Fitzgerald somehow complements the mournful Lee … the Humpty Dumpty of Manchester – unable to be put back together again. It’s certainly one of the gems of the year.

watch the trailer:

 

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Posted by David Ferguson

RULES DON’T APPLY (2016)

November 23, 2016

rules-dont-apply Greetings again from the darkness. Few films can match this one for pedigree. Actor/Director/Producer/Writer Warren Beatty is a 14-time Oscar nominee (won for Best Director, Reds, 1982) and Hollywood legend. Screenwriter Bo Goldman is a 3 time Oscar nominee, and has won twice (One Flew Over the Cuckoo’s Nest, Melvin and Howard). The cast includes 4-time Oscar nominee Ed Harris, 4-time Oscar nominee Annette Bening (Beatty’s wife), and other Oscar nominees: Alec Baldwin, Amy Madigan, Candice Bergen, and Steve Coogan. The all-star production also features Cinematographer Caleb Deschanel (a 5 time Oscar nominee), Co-Editors Leslie Jones and Billy Weber (both Oscar nominees), and two-time Oscar winner, Costume Designer Albert Wolsky. It’s Mr. Beatty’s first time directing since Bulworth (1998) and first time acting since Town & Country (2011). Being such a filmmaking icon, he attracts some of the most talented folks in the industry whenever he decides to work.

Of course, this isn’t a career retrospective and there are no brownie points won for surrounding yourself with the cinematically decorated elite. It still comes down to the movie, and unfortunately, this one is never as exciting, entertaining or funny as it seems to think it is.

Rumors of Warren Beatty making a Howard Hughes movie have bounced around for decades, and it appears this is as close as we’ll get. The director himself plays the billionaire, and the story mostly revolves around the time the enigmatic man (Hughes, not Beatty) was most involved with Hollywood and the movie business. Much of the dialogue and the majority of the scenes involving Hughes emphasize (and enhance?) the man’s idiosyncrasies that bordered on mental instability. Beatty mostly plays him as a mumbling and shrugging goofball who dines on TV dinners and is frightened of children.

The best parts of the movie don’t involve Hughes, and instead feature the youngsters trying to make their way in his convoluted organization. Lily Collins (Phil’s daughter) plays Marla Mabrey, a wanna-be starlet committed to her staunch religious upbringing – said beliefs incessantly reinforced by her distrusting mother (Annette Bening). Her driver is Frank Forbes played by Alden Ehrenreich (Hail, Caesar!), and his own agenda involves convincing Howard Hughes to invest in a real estate development project on Mulholland Drive. As expected, sparks fly between the young actress and the equally conservative young visionary, and we find ourselves engaged with them – in good times and bad.

The two youngsters have some nice screen chemistry that multiple times is brought to a screeching halt by the inclusion of yet another cockamamie Howard Hughes scene – most of which feel more like Beatty’s desire to be on screen rather than an extension of the story. These intrusions prevent any real flow to the film and actually bog down the most interesting aspects of the story. In fact, the disruptions cause us to spend more time “spotting the celeb” than caring about the characters. The list of familiar faces that pop up include: Ed Harris, Amy Madigan, Taissa Farmiga, Alec Baldwin, Matthew Broderick, Chase Crawford, Martin Sheen (as Noah Dietrich), Oliver Platt, Steve Coogan, Dabney Coleman, Paul Sorvino, and even Candice Bergen (as Hughes’ secretary).

It’s easy to see the nostalgia and fond memories that Mr. Beatty has of this late 50’s – early 60’s era in Hollywood. It was all about glamour and the magic of what’s on screen. The real Howard Hughes story is at least as interesting, if not more so, than the history of Hollywood, but the cartoonish aspects of the billionaire here don’t hold up to such previous works as The Aviator, or even Melvin and Howard.

These days, the Howard Hughes Hollywood legacy is barely a blip – a few recall Jane Russell’s close-up or the aerial battles of Hell’s Angels, while fewer know the RKO Studios story. Warren Beatty’s movie legacy is much more than a blip; however his latest adds little to the legend.

watch the trailer:

 

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Posted by David Ferguson

14 MINUTES FROM EARTH (2016, doc)

November 23, 2016

14-minutes Greetings again from the darkness. The audience for this documentary is probably every after-school Science club, although most anyone with a sense of wonder will find it interesting enough. Four directors (Jerry Kobler, Adam “Tex” Davis, Trey Nelson, Erich Sturm) combine to present visual proof of a middle-aged Google executive reaching for the stars … or more accurately, pursuing his dream of free-falling from the stratosphere.

The film begins with an introductory and basic overview of the stratosphere being one of five layers to Earth’s atmosphere – and the most difficult to access and study. Tribute is paid to Felix Baumgartner, the Austrian skydiver, who in 2012 set the exit altitude record for his jump from the stratosphere. It’s at this point we are introduced to Alan Eustace, the Google executive who wishes to go higher/fall farther than Baumgartner

For the next couple of years, Eustace and his team of brainiacs discuss, draw, develop, calculate, re-calculate and test their many theories and concepts on how to bring the project to life. To paraphrase Matt Damon’s character in The Martian, they science and technology the sh## of out of this.

Developing a space suit, a specialized parachute, a balloon the size of a football stadium, and the necessary equipment to take Eustace up and get him back is actually a pretty fascinating project to follow … especially the errors and mistakes. The human element is never far away, and just to make sure we know that, Eustace’s wife makes a couple of appearances.

When you or I catch a flight from Chicago O’Hare to LAX, our plane’s altitude probably reaches about 35,000 feet. Imagine going up another 100,000 feet (almost 25 miles above Earth’s surface) and then being dropped with an experimental parachute … now you understand the Eustace dream.

As interesting as the details are, it’s unfortunate there isn’t more of a scientific discovery aspect to the project and the story. It’s mostly just some rich Google dude pursuing a hobby that you and I would never consider. As viewers, we are rewarded with some spectacular and rare photographic evidence of the mission, and a part of our atmosphere that we wouldn’t ordinarily see. One of the quotes about Eustace is his commitment to the Google way … “We believe in the impossible”. So it’s refreshing to know that in this day and age, there are still pioneers and risk-takers, and the technology exists to record it all.

 

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Posted by David Ferguson

ALLIED (2016)

November 22, 2016

allied Greetings again from the darkness. Every writer, director and actor dreams of being part of the next Casablanca … a timeless movie beloved by so many. It’s rare to see such a blatant homage to that classic, but director Robert Zemeckis (Oscar winner for Forrest Gump) and writer Steven Knight (Dirty Pretty Things, Eastern Promises) deliver their version with an identical setting, nearly identical costumes, and the re-use of a song (“La Marseillaise”) which played such a crucial role.

Spy movies typically fall into one of three categories: action (Bourne), flashy/stylish (Bond), or detailed and twisty (Tinker Tailor Soldier Spy). This one has offers a dose of each blended with some romance and a vital “is she or isn’t she” plot. The “she” in that last part is French Resistance fighter Marianne Beausejour played by Marion Cotillard. Her introduction here is a thing of beauty, as she floats across the room thrilled to be reuniting with her husband Max Vatan. Of course the catch is that Max (Brad Pitt) is really a Canadian Agent and their marriage is a cover for their mission to assassinate a key Nazi. Yes, it’s 1942 in Morocco.

The two agents work well together and it’s no surprise when this escalates to a real romance between two beautiful and secretive people. It seems only natural that after killing Nazi’s and making love in a car during a ferocious sandstorm that the next steps would be marriage, a move to London, and having a kid. It’s at this point where viewers will be divided. Those loving the action-spy approach will find the London segment slows the movie to a crawl. Those who prefer intelligence gathering and intrigue may very well enjoy the second half more.

What if your assignment was to kill your beloved wife if she were deemed to be a double-agent? Max finds himself in this predicament, and since no one ever says what they mean in the community of spies, he isn’t sure if the evidence is legit or if it’s really a game to test his own loyalty. This second half loses sight of the larger picture of war, and narrows the focus on whether Max can prove the innocence of Marianne … of course without letting her know he knows something – or might know something.

Marion Cotillard is stellar in her role. She flashes a warm and beautiful smile that expertly masks her true persona. The nuance and subtlety of her performance is quite impressive. Mr. Pitt does a nice job as the desperate husband hiding his desperation, but his role doesn’t require the intricacies of hers. Supporting work comes via Jared Harris, Lizzy Caplan, August Diehl, Marion Bailey, Simon McBurney, and Matthew Goode.

The Zemeckis team is all in fine form here: Cinematographer Don Burgess captures the feel of the era, Composer Alan Silvestri never tries to overpower a scene, and Costume Designer Joanna Johnston is likely headed for an Oscar nomination. For a spy movie, the story is actually pretty simple and the tension is never over-bearing like we might expect. While watching the performance of Ms. Cotillard, keep in mind her most telling line of dialogue: “I keep the emotions real.” It’s a strategy that is a bit unusual in her world. How effective it is will be determined by the end of the movie.

watch the trailer:

 

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Posted by David Ferguson

NOCTURNAL ANIMALS (2016)

November 17, 2016

nocturnal-animals Greetings again from the darkness. First rule of Write Club … ABC. Always Bring Conflict. Alright, so I blended famous lines from a couple of movies there, but the point is a good script inevitably has conflict throughout. Director Tom Ford (A Single Man, 2009) adapted the screenplay from Austin Wright’s novel “Tony and Susan”, and while significant conflicts abound, it’s the multiple and vivid contrasts that take this one to the next level.

Director Ford jolts us with one of the most unique and unwelcome opening scenes ever as the credits flash by. A high gloss art gallery is the setting for a combination of video/performance art taking place that could only be appreciated by those with very specific tastes … those who favor obese naked dancing ladies. Extremely obese and absolutely naked. It’s not the last time we as viewers will be uncomfortable, but it is the last time we will chuckle (even if it is awkwardly).

The curator of the art gallery is Susan, played by the always excellent Amy Adams. She lives in a stunning, ultra-contemporary mansion with her picturesque husband played by Armie Hammer. Their relationship is apparently as cold as his business, resulting in an empty relationship and the need to maintain the façade with their friends while quietly selling off assets to buy time. On the day that he leaves on a “business trip”, she receives a package containing a galley of her ex-husband Edward’s (Jake Gyllenhaal) first novel … some interesting reading during her time alone.

A creative story structure has Susan reading the book (dedicated to her) in bed while we “see” what she’s reading/envisioning. The story starts out as just another road trip for a husband (Gyllenhaal in a dual role), wife (Isla Fisher) and their teenage daughter (Ellie Bamber). However, on the desolate back roads of west Texas things get intense – almost unbearably so. The young family is terrorized by a trio of rednecks led by sociopath Ray Marcus (played by Aaron Taylor-Johnson in what is head and shoulders above anything he’s done to date). What follows is the fear of every man … unable to protect his family, and every woman … being abducted.

Thanks to flashbacks and some simple inferences, we soon realize the novel is corresponding to Susan and Edward’s past relationship, as well as Susan’s current situation. The previously mentioned contrasts really kick into gear. It’s the past versus the present, west Texas tumbleweeds versus the sleek and glamorous art world, Susan’s first artsy husband versus her new ideal one, young Susan versus current Susan, the physical beauty of those in Susan’s world versus the grit and ugliness of the novel, and finally, reality vs what’s not real.

The revenge-thriller portion of the novel makes for fascinating story-telling, and we get drawn in fully once Michael Shannon (playing a west Texas detective) arrives on the screen. Always one to disappear into his role, this may be Mr. Shannon’s best yet. Though he doesn’t have significant screen time, we are mesmerized by him during his scenes. He and Gyllenhaal are terrific together. Also appearing in supporting roles are Michael Sheen, Andrea Riseborough, Jena Malone, and a chilling scene from Laura Linney as Susan’s high society mother.

The two parts of the film play off each other like Brian DePalma against Sergio Leone. Slick against dusty … but of course, there is misery and disappointment and deceit in each. The cinematography (2 time Oscar nominee Seamus McGarvey) and editing (Joan Sobel) are superb and complemented by a spot on score from composer Abel Korzeniowski (a mixture of Bernard Hermann and Basic Instinct). The ending may frustrate some (not me) and though it may not find a huge audience, a loyal fan base is quite likely.

watch the trailer:

 

 

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Posted by David Ferguson

ELLE (2016, France)

November 17, 2016

elle Greetings again from the darkness. It’s best not to pre-judge what to expect in a new Paul Verhoeven directed film. We haven’t seen or heard much from him in the past decade (the underrated Black Book, 2006), but we know surprises and twists and entertainment will be part of his work given his track record of Robocop, Total Recall, Basic Instinct, and Showgirls. Factor in that he is now working with one of the best actresses on the planet in Isabelle Huppert, and we walk into the theatre with no assumptions but a high level of anticipation.

The phrase ‘tour de force’ is no exaggeration for Ms. Huppert’s performance here. No time is provided for settling into one’s seat as the opening scene stuns us with a brutal sexual attack by a masked intruder. Afterwards, the bloodied victim calmly cleans the house, soaks in a tub and orders takeout. This is our introduction to Michele (Huppert) and begins our two hour mission of trying to figure her out.

Is she the ultimate feminist? She is the co-owner (with her best friend Anna) of a video game company that specializes in highly stylized and violent fantasy games (no subtle irony in that). Is she demented? She fools around with the husbands of her best friend and neighbor. Is she simply off-center? She scolds her mother for wanting to marry a much younger man, and her son for living with his selfish girlfriend who has a new baby via another man. She is not a good friend, business partner, mother, daughter, wife or person. This is no sympathetic character, yet thanks to Ms. Huppert, we simply can’t take our eyes off of her or stop wondering how she will handle the next situation (of which there are many).

Based on the novel “Oh …” by Phillipe Dijan, with a screenplay from David Birke (who has a similar theme in much of his work), the film spares us little from the daily life of Michele. We see her as a confident business person, a sexual being – whether peering through binoculars at a neighbor or trysting with a married man – and a somewhat devious and devilish person intent on revenge. It’s not until later in the film that we learn the family history that has been the driving force behind her rebuilding her life while also being unable to escape the past.

Ms. Huppert is in most if not every scene. It’s a powerful and rare performance that is complemented by some fine supporting actors: Anne Consigny as Anna (Michele’s friend and business partner), Christian Berkel as Robert (Anna’s husband and Michele’s play toy), Charles Berling as Richard (Michele’s ex-husband), Judith Magre as Michele’s mom, Laurent Lafitte as Patrick (the neighbor), and Jonas Bloquet as Vincent (the dim bulb son). Michele has interactions with each of these characters … none better than the Christmas dinner party where all are in attendance.

Verhoeven’s film can be viewed as a slightly sleazy guilty pleasure, or as a profile of a strong, independent woman with a flawed moral compass. It’s a reminder that we never fully escape the shadow cast by our parents, and some pay a greater price than others. It’s rumored that no major American actress would take on the role, which in the end, benefits the film greatly … no other actress could have provided what was needed (except perhaps Barbara Stanwyck, who died more than 25 years ago). Ms. Huppert’s performance allows this to cross many genres, and it is undoubtedly the best of the year in this category: a comically mean rape-revenge psychological thriller centered on consent and desire. Should you doubt this, perhaps Michele’s own words will convince: “Shame isn’t a strong enough emotion to stop us from doing anything at all.” It’s a pleasure to meet you ma’am.

watch the trailer:

 

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Posted by David Ferguson

BLEED FOR THIS (2016)

November 17, 2016

bleed-for-this Greetings again from the darkness. You may be excused if you believe there have been enough boxing movies recently. Just last year, we saw Creed and Southpaw – both critically acclaimed and featured significant screen time inside the ropes. Writer/director Ben Younger returns with his first movie since 2005 (Prime) and teams up with screenwriter Angelo Pizzo to present the “based on a true story” of Rhode Island’s own Vinny Pazienza.

Mr. Pizzo is known for his work on inspirational sports films like Hoosiers, Rudy, The Game of Their Lives, and My All-American; so the fascinating and true story of Paz is right in his wheelhouse. See, The Pazmanian Devil (his nickname) was a terrific fighter, and is even more famous for his medically-defying comeback after a horrific car accident. The doctors doubted he would ever walk again, and offered Vinny no hope at all of ever fighting again.

Miles Teller (Whiplash, The Spectacular Now) plays Vinny Pazienza and obviously trained very hard to get in tip top shape. His boxing skills are well suited to the training sequences but must be creatively edited for the scenes in the ring. This is especially obvious when clips of the real Paz are inserted. Beyond that, Teller softens the overblown machismo of Pazienza and the boxing world. He captures the single-minded commitment of Pazienza, while making him a bit more likeable than the real man came off in interviews.

Aaron Eckhart is excellent as Pazienza’s (and Mike Tyson’s former) trainer, Kevin Rooney. It’s puzzling how Eckhart’s name ever came up for the role of a balding, pudgy, alcoholic who believes he’s been put out to pasture … but Eckhart and Teller together produce some wonderful scenes. Other support work comes from Ciaran Hinds and an underutilized Katey Sagal as Vinny’s dad and mom, and Ted Levine and Jordan Gelber as boxing promoters Lou and Dan Duva.

The comeback was as improbable as it was inspirational, and the decision to go with the Halo (metal brace that screws into the skull) over the neck fusion surgery could easily be categorized as foolish rather than courageous. But much of the story revolves around the internal make-up and competitive drive that made Vinny the man and the boxer that we see.

The film has more in common with The Fighter than either of the movies mentioned in the first paragraph, but it’s even more character study than boxing movie. This proud, driven, egotistical local from Providence held world titles at three different weight classes, refusing to be limited by the opinions of others. Rather than end with a classically Hollywood shot of victorious Paz celebrating in the ring, the film ends with an odd interview centered on his debate against the phrase “it’s not that easy”. It’s a stance that makes us question whether he ever learned the lessons of gamble vs risk. Mostly though, we marvel and agree that he’s a guy who deserves to be on a box of Wheaties.

watch the trailer:

 

 

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Posted by David Ferguson

BILLY LYNN’S LONG HALFTIME WALK (2016)

November 17, 2016

billy-lynn Greetings again from the darkness. “Thank you for your service.” For those of us who have never served in the military, we say the words because we don’t know how else to show our appreciation. Do the words ring hollow to those in uniform? Maybe. Probably. But how else can we honor these brave souls? What if we have them share a stage with a pop singing group during halftime of a football game? It’s this line between honor and propaganda that takes up much of the new movie from two-time Oscar winning director Ang Lee (Life of Pi, Brokeback Mountain).

The story is based on Ben Fountain’s 2012 novel, and revolves around soldier Billy Lynn’s and his fellow “Bravo” squad members as they make the rounds back home (in 2004) for publicity after their intense battle sequence is caught on camera. There is much at play here: how the soldiers interact with each other, how they are treated by the general public, how they are used by the team’s owner and the Army for self-serving reasons, and how Billy juggles the stress of war, the spotlight of heroism, and the demands from his family.

Director Lee opted to experiment with the ultra-realism of the new 120 frames per second in 4k 3D, rather than the standard 24 fps. Though this may seem like a minor detail that shouldn’t be addressed in a review of the movie, it’s impossible to ignore this impact. Technical advancements in film and digital have resulted in some exciting new effects for movies, but this high speed approach creates a soap opera look and feel that will likely be disorienting to many viewers. Although the full effect will only be available in New York and Los Angeles (due to shortage of projectors), the clarity on the close-ups is distracting, while leaving the background quite fuzzy and out of focus. Many will find this new look to be “not right” for a movie, and prefer the traditional look. Others may embrace the heightened sense of reality … of being right there with the characters. Of course, this is Ang Lee’s film, so there is no shortage of stunning visuals and expert shots.

Beyond the technical aspects, this movie is simply a bit clunky to watch, not very well written (screenplay by Jean-Christophe Castelli), not very well acted, and has an overall awkward and unfinished feel to it. Kristen Stewart plays Billy’s sister, and her limited screen time is the best part of the movie. Newcomer Joe Alwyn makes a decent reluctant (and lucky) hero in playing Billy, but he doesn’t have the chops to overcome the script weakness and the burden of carrying so many scenes. This is especially obvious in his unrealistic bonding scenes with cheerleader Faison (played by Makenzie Leigh). Their scenes together are nearly unwatchable.

Supporting work comes from Vin Diesel as Billy’s philosophical officer in recurring flashbacks to the war, Garrett Hedlund as the current squad leader, a miscast Steve Martin as team owner Norm Oglesby (a Jerry Jones type), and Chris Tucker as the incessantly yammering agent/producer trying to put a movie deal together for the soldiers. Other minor contributors include Tim Blake Nelson, Bruce McKinnon (in horrible make-up), Ismael Cruz Cordova, Deidre Lovejoy, and a couple of All-Pro players in Richard Sherman and JJ Watt.

Since there are some interesting and important elements to the story, the assumption here is that most effort went towards the experimental technical aspects. More attention to scene detail could have more effectively contrasted the soldier’s take on war versus the never-ending inclination of Americans to turn most anything into more and bigger entertainment … even Destiny’s Child isn’t enough. The questionable filmmaking decisions leave us with the shell of a good story, and too many sappy close-ups of actors emoting directly to the camera lens. The soldier vs hero debate deserves better, and the propaganda aspect deserves a more critical eye.

watch the trailer:

 

 

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Posted by David Ferguson

AQUARIUS (2016, Brazil)

November 12, 2016

aquarius Greetings again from the darkness. If you were an avid movie-goer in the 1970’s, you likely fell in love with Sonia Braga while watching Dona and Her Two Husbands (1976) and Kiss of the Spider Woman (1978). Those movies catapulted the Brazilian actress to global stardom, and a long career limited only by some regrettable script choices.

Writer/director Kleber Mendonca Filbo wisely casts Ms. Braga in the lead of his latest, and she delivers what may be her best performance ever … and certainly one of the best by any actress this year. Clara is the lone holdout in a beachfront apartment complex against a corporate developer intent on modernizing the old building in order to maximize profits.

The film is divided into three parts: “Clara’s Hair”, “Clara’s Love”, and “Clara’s Cancer”. The initial segment is set in 1980 when Clara is recovering from cancer treatment and is attending the 70th birthday party for her beloved Aunt Lucia (Thaia Perez). Lucia’s flashbacks to her younger days bring a subtle smile to her face, while providing parallels to what we see later with Clara. Some secrets from family are treasured memories, not meant to be shared. As the story moves forward, we grow to admire and respect Clara and join in her defiance of the smirky hotshot developer.

The big company bullying the old lady would be an interesting and predictable story, but here it’s secondary to the story of a strong woman – a woman who overcomes cancer, carries on after the death of her husband, fights to keep her home, and generally lives life on her own terms. She maintains her strength and dignity despite outside influences.

A recurring theme throughout is “old vs. new”. From the first sequence with the “old” Aunt passing the baton to her younger niece, to the old lady battling the young developer in order to prevent the historic building from being turned into a modern co-op, to the contrast of the vinyl records of Clara’s collection to the digital music of the younger generation, to Clara’s preference for actual phone calls to texting. It’s the classic now versus then argument, and it’s summed up by Clara’s line to her kids: “When you like it, it’s vintage. When you don’t, it’s old.”

There are some similarities to Sebastian Lelo’s 2013 film Gloria, which featured an exceptional performance from Paulina Garcia, and this one utilizes some terrific “little” scenes … conversations with family and daily life with her housekeeper – all while staying close to a glass of wine, her favorite music, a cozy hammock, and her Barry Lyndon poster. While the ending is a bit disappointing, and Brazilian politics prevented it from being that country’s Oscar submission, those don’t negatively impact the strength of Sonia Braga’s Oscar worthy performance as we rejoice in the strength of an independent woman.

watch the trailer:

https://www.youtube.com/watch?v=iHSmrxtMc_A

 

 

1 Comment | Drama, World Cinema/Foreign | Tagged: , , | Permalink
Posted by David Ferguson

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