MIDSOMMAR (2019)

July 4, 2019

 Greetings again from the darkness. Summer movies are traditionally tentpoles and teen flicks … big budget action movies and those aimed at an audience that are on a 3 month reprieve from school. We are quickly learning that rising star filmmaker Ari Aster cares little for tradition. Well at least he seems to thrive on twisting tradition and spinning off in an unusual direction. His feature film debut was last year’s mega-hit HEREDITARY, a horror film which was noted in most every critics association Top 10 list for 2018.

HEREDITARY was filled with darkness and dread, and Mr. Aster’s second film begins with a similar setting: it’s a dark and cold night as Dani (Florence Pugh, LADY MACBETH) frantically searches for her bi-polar sister through emails and phone calls. During her search, we realize that her relationship with boyfriend Christian (Jack Reynor, SING STREET) is a bit strained. The brilliant pre-credit sequence results in a horrific tragedy striking Dani’s family. Christian does his best to offer support, but he’s a typically weasel of a man who feels more at ease hanging out with his grad school buddies than providing love and compassion to his needy girlfriend … and he’s not man enough to tell her, despite the urging of his friends.

An awkward group conversation leads Dani to accept an invitation to go on the boys’ trip to Sweden. The purpose of the trip is twofold: to participate in a 9 day long village festival held every 90 years and for Josh (William Jackson Harper, “The Good Place”) to work on his thesis. The other guys in the group are Pelle (Vilhelm Blomgren) whose family in Sweden is hosting the festival, and Mark (Will Poulter, THE REVENANT) who provides much of the comic relief thanks to his overall cluelessness about pretty much everything related to graceful societal interactions.

And with that set-up comes one of the most deranged, unsettling and bizarre movie experiences this year (or most any year) is likely to bring. Try to picture a Folk Horror Comedy Fairy Tale Break-up Pagan Cult film, which at any given time reminds of MOTHER!, THE WICKER MAN, THE WIZARD OF OZ, THE VILLAGE, SUSPIRIA, and a handful of other cinematic oddities we’ve seen over the years. It is quite likely the sunniest horror film you’ve ever seen. And that’s a literal description … like the production could have been solar-powered. Most of it is filmed outside during Sweden’s Midnight Sun – constant sunshine accompanied by mostly bright white skin and even brighter white cotton costumes (embroidered as if meant for Woodstock). The daylight messes with your senses and expectations. Bad things are supposed to happen in the dark, not in broad daylight enveloped by picturesque wonders of nature. Although the opening is cold, dark and punctuated with tragedy, the rest is so bright, it almost blinds you to the atrocities on screen.

So without giving away anything, here’s what we are in for: a welcome to Sweden mushroom trip, a Waco joke, a caged bear, a sacred tree, a Powerball game you hope to lose, and flowers and trees that seem to breathe. We also are reminded not to forget the birthday of our significant other, living to age 72 is not really rewarded in this commune, and no one should ever dance till they drop – even to be named the Queen of May. Of course, as with most horror films, it’s easy to sit back as viewers and question the decision-making of the characters, but it’s not like they realize they are in a horror film … at least not until it’s too late!

Ms. Pugh (who reminds of another talented young actress, Haley Lu Richardson) is terrific here. Her character experiences shock, personal grief, a strained relationship, hallucinations, and a shot at revenge. The excellent music from Bobby Krlic, better known as The Haxan Cloak, is a mix of compositions and songs that create the mood for each character and scene. I was so shell-shocked at the end, that I’m unable to confirm that the version of “The Sun Ain’t Gonna Shine (Anymore)” is that of The Walker Brothers (Scott Walker died earlier this year) or that of another band. Director Aster’s second film proves the exaggerated and diverse spectrum of what constitutes a horror film, and cinematographer Pawel Pogorzelski’s disorienting camera work perfectly complements a rare cinematic blend of frightening and funny. The cheery faces and pastoral beauty very nearly distract us from what might be the ugliest break-up movie ever.

watch the trailer:

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Posted by David Ferguson

MY DAYS OF MERCY (2019)

July 4, 2019

 Greetings again from the darkness. There have been some fine movies centered on death row. These include: THE GREEN MILE (1999), DEAD MAN WALKING (1995), THE LIFE OF DAVID GALE (2003), and TRUE CRIME (1999). The only one I can remember that even comes close to also being a love story is MONSTER’S BALL (2001), and if you’ve seen it, you would likely agree that it’s not exactly a warm and fuzzy story of romance. With this latest, however, Israeli director Tali Shalom-Ezer and British writer Joe Barton combine for a romantic story where death row plays a vital part.

Ellen Page stars as Lucy. She travels around the country in a well-worn motorhome with her older sister Martha (Amy Seimetz, UPSTREAM COLOR) and their little brother Benjamin (Charlie Shotwell, CAPTAIN FANTASTIC), as they partake in the anti-death penalty demonstrations outside the prison gates as the next execution takes place. Across the parking lot, the pro-death penalty side hold their own signs and keep their own vigil. Lucy’s eyes lock on those of a striking young woman from the other side. When they meet, the ironically named Mercy (Kate Mara) aggressively flirts with the shy and confused Lucy, and the two sneak out for drinks at a bar.

Soon Lucy is anxiously awaiting the next protest so that she can meet up with Mercy. The sexual tension builds as they get to know each other, and their awkward friendship turns romantic. Their activism for different sides of an important topic doesn’t have any negative impact on their attraction to each other. Each woman has been personally affected by the death penalty, and as viewers we struggle with the idea that these two lovebirds part each time with what amounts to ‘see you at the next execution!’

Elias Koteas (TEENAGE MUTANT NINJA TURTLES, 1990) plays Lucy’s death row dad, and Brian Geraghty (THE HURT LOCKER) plays the attorney who is simultaneously working on his case and on Lucy’s sister Martha. The acting here is top notch as Kate Mara balances the two sides of Mercy, and Ellen Page flashes her familiar JUNO snark – albeit with the heft of a wisened adult. Ms. Seimetz adds to her list of always-interesting characters, and has a couple of truly outstanding scenes.

Blending love and the death penalty makes for an unusual combination, and we do understand that folks choose their side based on personal belief and circumstances. For the film, the death penalty issue is a bit of a distraction to the story of these two people, though it’s admirable that Mr. Barton chose to give them a personal stake in two different cases, rather than the same – which we would expect in a lesser movie. The use of “last meals” is quite creative, as we see the actual food, as well as the name of the inmate, the crime, and the prison.

The fallout from executions is widespread. Perhaps no one wants a narrative film focused entirely on such a depressing and divisive topic. We do ask ourselves if a romantic relationship is even possible for two who are diametrically opposed on such an emotional topic. It’s an ending that lets no one off the hook easily. Life is hard. So is death. Make your choices wisely.

watch the trailer:

Leave a Comment » | Drama | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

WILD ROSE (2019)

July 4, 2019

 Greetings again from the darkness. Quick … name all of the female Country music singers from Glasgow, Scotland! Yep, that unicorn is the premise for this film from director Tom Harper and writer Nicole Taylor, both best known for their British TV work. Rose-Lynn Harlan (played by Jessie Buckley) is being released after a year in jail on drug charges. She uncomfortably adjusts her white boots over the ankle monitor and sets off to conquer Nashville with her singing.

Of course there are a few obstacles to her Music City dream. See, she’s a single mother with two kids, and she’s from a working class area where putting food on the table and paying the bills is a significant achievement. Ms. Buckley stars as Rose-Lynn, and by stars I mean she carries the film and flashes great promise as an actress. Her no-nonsense mother Marion is played by 2-time Oscar nominee Julie Walters, and while Rose-Lynn has stars in her eyes, mother Marion pushes her to take a housekeeping job and be a mother to her kids. The scenes with Rose-Lynn and her kids are devastating, as she has no parenting instincts, and is solely focused on herself.

We know where all of this is headed, and it’s a credit to Ms. Buckley and Ms. Taylor’s script that we care enough to follow along. Rose-Lynn is employed to clean house by the wealthy Susannah (Sophie Okonedo), and we get one of the funniest vacuum cleaner scenes ever. Susannah soon takes on Rose-Lynn as a pet project with the goal of helping her get to Nashville for her shot.

Some rough language is peppered throughout and it’s spouted with the heaviest of Scottish accents, so much of it sounds a bit comical rather than threatening. The film is a bit uneven, but the mainstream approach keeps it from going too far off track, and it quite comfortably fits into the “crowd-pleasing” category. “Three chords and the truth” is used to describe country music, and if that’s your musical taste, you’ll likely enjoy the songs. However, if you prefer ‘Country and Western’, you’re flat out of luck. Either way, look out for Ms. Buckley.

** I saw this at the 2019 Dallas International Film Festival, and it’s now getting a theatrical release.

watch the trailer:

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Posted by David Ferguson

THE GOOD, THE BAD, THE HUNGRY (“30 FOR 30”, ESPN)

July 1, 2019

 Greetings again from the darkness. It’s hard to beat chowing down on a hot dog at the ballpark, and I’ve even been known to have one too many on occasion(s). What’s impossible to imagine is cramming a few dozen in my mouth in a 10 minute window – while a bunch of others are standing alongside me doing the same thing. That, my friends, is competitive eating. It’s a “sport” that became famous in the United States thanks to a 144 lb. Japanese wisp of a man named Takeru Kobayashi, and then it became even more popular when laid-back California dude Joey Chestnut began breaking records.

Documentarian Nicole Lucas Haimes pays tribute to the impact of both men, while providing the background for each … and still giving the competitions the attention they deserve. The film kicks off in Coney Island on July 4, 2006 at Nathan’s Famous Hot Dog Eating Contest. Kobayashi wins his sixth consecutive World Championship title, and his closest competitor is newcomer Joey Chestnut, who is devastated by his loss – beginning the biggest rivalry in competitive eating.

Throughout the film, we learn more about each man, and just how important the contests are to them.  For Kobayashi, who came to America in 2001, he quickly embraced the notoriety and life as a celebrity. A frequent competitor, he joined right into the crazy marketing stunts – once losing to a grizzly bear in 2002. He became part of “The Simpsons”, “Saturday Night Live” and other mainstream vehicles.

2005 marked the first time ESPN covered the Super Bowl of Competitive Eating, and that was also Joey Chestnut’s first time to compete in the Nathan’s contest. He was shocked that a small guy like Kobayashi could out-eat him and was considered a God in the arena. He also learned about preparation, as Kobayashi was all about precision and training. Chestnut’s parents and brother are interviewed and we see how his approach changed as he became more serious. The quiet, somewhat shy Chestnut had his world rocked in 2007, and he has since become more comfortable with the fans and with his secure spot as a legend in the sport.

We are also introduced to George Shea, the director of Major League Eating (MLE), and how his devotion to marketing and hyping the sport, turned it into a televised international battle between Japan and America – all for the “mustard belt” and $10,000 awarded to the champion. Mr. Shea doesn’t come across as very likable or trustworthy, but is given his due for helping the eating competitions attract thousands of attendees.

Kobayashi’s story is a bit more poignant as he explains how hurt he was to be turned into the villain after being idolized as the name and face of the sport. He enjoyed the applause, not the booing and chants of “USA, USA” for Chestnut. Even Kobayashi’s wife and father offer some insight into the man that energized the sport … and who will always be linked to the rivalry with Chestnut. This is a personal story for both, despite the aggressiveness involved with shoving broken hot dogs and wet buns down their own throats.

*** This episode of “30 For 30” airs on July 2, 2019 on ESPN

watch the trailer:

http://www.espn.com/videohub/video/clip?id=27058741&categoryid=null

 

Leave a Comment » | Documentary | Tagged: | Permalink
Posted by David Ferguson

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