Greetings again from the darkness. One need not be a Dickens expert to enjoy this re-imagining of his “The Personal History, Adventures, Experience and Observation of David Copperfield the Younger of Blunderstone Rookery (Which He Never Meant to Publish on Any Account)”. Yes, that’s the novel’s actual title, so there is little wonder it’s typically referred to by only the main character’s name.
The film opens with David Copperfield (Dev Patel, SLUMDOG MILLIONAIRE) reading his autobiography to a mesmerized audience in a beautiful theatre. Yes, we hear the iconic opening line, “Whether I shall turn out to be the hero of my own life …”, and then Copperfield turns and walks into the backdrop which comes alive as he, in fact, steps into his own life. The film is episodic in structure as we are presented with segments of Copperfield’s life that shaped his writing – from his birth at The Rookery, to his inquisitive nature as a young boy, through his cruel banishment to factory work, on to his life living with his eccentric aunt and his time at boarding school, and finally, with his time as a proctor, courting Dora, and focusing on writing. It’s a fascinating life, with many elements pulled (or enhanced) from Dickens’ own.
Director Armando Iannucci (IN THE LOOP, creator of “Veep”) and co-writer Simon Blackwell are frequent collaborators renowned for their expertise in satire. Iannucci is an admitted fan and student of Dickens, and he’s assembled quite a sterling cast for his take on the classic story. In addition to Patel as the older Copperfield, we have Jairaj Varsani in his first film as young David, rising star Morfydd Clark (PRIDE AND PREJUDICE AND ZOMBIES, 2015) in dual roles including the enchanting Dora Spenlow, Hugh Laurie as the King Charles (and his head) obsessed Mr. Dick, Aneurin Barnard (DUNKIRK) as David’s friend Steerforth, Darren Boyd and Gwendoline Christie as the wicked Murdstones, Peter Capaldi (“Doctor Who”) as the dodgy Mr. Micawber, Daisy May Cooper as trusted handmaid Peggotty, Nikki Amuka-Bird as the concerned Mrs. Steerforth, Benedict Wong as the sherry-loving Mr. Wickfield, and Ben Whishaw is a standout as conniving Uriah Heep. And if somehow that’s not enough, the brilliant and eclectic Tilda Swinton shines as Aunt Betsey Trotwood.
Each of the segments brings something different to the party – some of it bleak, and some of it cheery. Of course the dialogue has dashes of humor, but much of the comedy comes courtesy of the talented cast. It’s been said of writers that they should write what they know, and David Copperfield literally writes what he lives … through piles of scraps of paper, each holding a moment of life or the essence of a character. Watching this is a bit like camping out in a writer’s head and twisting through their thoughts … Mr. Dickens would be proud.
Greetings again from the darkness. I’m not Catholic and did not grow up learning much about Catholicism. However, I have heard the story of Fatima, Portugal and the 3 young shepherds who claimed to have seen the Virgin Mary. Writer-Director Marco Pontecorvo and co-writers Valerio D’Annunzio and Barbara Nicolosi deliver a dutiful re-telling of the events that led up to the Miracle of the Sun.
The movie begins in 1989 as Professor Nicols (Harvey Keitel) visits Sister Lucia (Sonia Braga), now an octogenarian, at her nunnery. The professor is quite the skeptic, but it’s crucial to his new book project that he question the Sister about what she experienced in 1917. We then flash back to that era when 10 year old Lucia (Stephanie Gil) and her cousins, 7 year old Jacinto (Alejandra Howard) and 8 year old Francisco (Jorge Lamelas) are youngsters working as shepherds for the family flock of sheep. One day, a vision appears to the three children. It’s the Virgin Mary (Joana Ribeiro) offering words of hope and a request for praying and strong faith.
Of course kids are kids, so their secret gets spilled almost immediately. As you would expect, no one believes them. Not their family or those in the small Portugal village. The townspeople gather regularly in the square to hear the Mayor (Goran Visnjic) read the names of the local boys and men who have been killed in war. It’s a gut-wrenching occurrence for all involved, and yet another opportunity for the mean-spirited folks to accuse the kids of lying about what they’ve seen. The local priest (Joaquim de Almeida) tries to frighten them out of the story, and even Lucia’s mother (Lucia Moniz) scolds and belittles her.
“The faith of a child” has rarely been more evident than with young Lucia. She stays strong despite being ostracized by the villagers, the church, and even her family. The film makes clear observation about faith and religion. What is religion but believing and having faith in something intangible – something that can’t be seen or touched. Director Pontecorvo delivers a faith-based film, yet one that is not preachy. It does make us wonder why the religious leaders are themselves so lacking in true faith, and why the politician is envious of the youngsters who draw an audience. Photographs of that day in 1917 … the “Miracle of the Sun” … are shown as part of the closing credits, while Andrea Bocelli’s remarkable voice sings out. It’s a low-budget film with some overacting (from adults), but the message and the performance of young Stephanie Gil make it worthwhile.
Available in theaters and On Demand August 28, 2020
Greetings again from the darkness. He’s now 98 years old. Is it even possible to separate Pierre Cardin, the man, from Pierre Cardin, the global brand? Co-directors P. David Ebersole and Todd Hughes take on the fashion icon in the latest documentary focusing on the biggest names in the industry … and there may be none bigger or more important than Cardin. We begin with a montage of folks pronouncing his name in various dialects, and with the utmost respect.
“Who is Pierre Cardin?” After saying his name, many of those same people then struggle with how best to describe the man. Cardin himself cuts right to it, “It’s no longer me. It’s a brand.” The public brand was created by a private man – one who has never authorized a biography, which may explain why the filmmakers actually get very little direct input from Cardin himself. Instead, we get archival footage and a stream of admiring talking heads discussing his influence.
It’s a bit surprising to learn that this famous French designer was born in Italy. Cardin’s family relocated to France when he was young and Mussolini was in power. His fashion career got a boost when he met director Jean Cocteau and worked on costumes for the classic BEAUTY AND THE BEAST (1946), and then was named head designer at Dior. In 1950, when Cardin left to open his own house, Christian Dior was quite supportive of his pupil. Cardin followed that example, and mentored young designers over many decades.
This is an informative profile, and clearly outlines Cardin’s global vision. We learn he was the first to expand internationally into Japan, Russia, and China … and there is an entire segment devoted to his impact on China fashion. We see his number one model in the 1960’s, Hiroko Matsumoto, and Naomi Campbell explains how Cardin was the first to hire a diverse troupe of models from many races. He even had the first men’s fashion show, something that seemed quite extreme for the time, although he also designed suits for The Beatles. So much of Cardin’s career is detailed here – his initial foray into Ready-To-Wear, realizing his goal of designing not just for the privileged, but also the masses.
The Cardin brand has found its way into so many industries and on to so many products. This includes furniture, cologne, and even cars – specifically an AMC Javelin. Cardin became a pioneer in fashion eyewear, and as with his clothes, his modern approach was often ahead of its time. The film proceeds to go into his purchase of Maxim’s, the famous Paris restaurant (which he later franchised), as well as his passion for the theater, and the purchase of Espace Cardin in 1970. Cardin’s connection to Gerard Depardieu, Dionne Warwick, Marlene Dietrich, and even Alice Cooper are discussed, and we also hear from Sharon Stone and Jean-Michel Jarre, among others.
Despite all we learn, by the end of the documentary, Pierre Cardin remains a bit of an enigma as a person. His personal life includes intimate relationships with Jeanne Moreau (labeled his “life companion for years”) and Andre Oliver (who died of AIDS in 1991). Pierre Cardin is a designer and fashion icon who has a museum dedicated to his work … work to this day that he maintains a finger on the pulse. In fact, when asked the secret to youth, Cardin replies, “Work. Work. Work.” And we know he means it.
The film premiered at the 2019 Venice Film Festival, and will open in Virtual Cinema on August 28, 2020, as well as On-Demand to coincide with New York Fashion Week on September 15, 2020.
Greetings again from the darkness. In this time of pandemic, we may not yet have a cure for the virus, but music video director Ninian Doff serves up his first feature film as a vaccine for those who have been stuck in the house for too long. It’s really a mash-up of comedy-horror-thriller-buddy film, with a dash or two of hip-hop and social satire. Mr. Doff also wrote the screenplay, and the film originally played SXSW under the title, “Boyz in the Wood.”
Three friends/delinquents from school are on the verge of expulsion, and their punishment is being sent on the Duke of Edinburg adventure, a program established in 1956 with the objective of getting kids out of the city and into the country. Dean Gibson (played by Rian Gordon) is the leader of the trio, while DJ Beatroot (Viraj Duneja) dreams of becoming a star hip-hop artist, and Duncan (Lewis Gribben) mostly creates chaos at every turn. They are joined on the trip by their personality opposite, Ian (Samuel Bottomley), a home-schooled boy who actually volunteered for the trip in hopes of padding his university application.
The Scottish Highlands serve as the life-sized game board where the boys take their wilderness trek. Substitute teacher Mr. Carlyle (Jonathan Aris) hands them a map and takes a picture of the group in front of a bulletin board filled with missing kid flyers. That’s just a taste of the humor that awaits. Ian is the only one treating the journey seriously, while the other three are wise-cracking, experimenting with drugs, and putting up with DJ Beatroot’s meanderings about his music “career”. At first, the boys are oblivious to the fact that they are being stalked (or hunted) by a couple of elites played by the always entertaining Eddie Izzard as The Duke, and his partner in crime (literally), Georgie Glen as The Duchess.
Simultaneous to this Highlands’ action, we are treated to a look inside the police station where Sergeant Morag (Kate Dickie) and PC Hamish (Kevin Guthrie) generate some laughs with their excitement over hip-hop terrorist zombies in their area. They find this significantly more intriguing than “the bread thief” which was previously the number one crime to solve. At times, it’s difficult to know which group is the most talented at bumbling – the boys, the rich hunters, or the police.
The Duke of Edinburg award is earned by combining “Teamwork, Orienteering, and Foraging.” For this group of boys, it also involves drugs, hip-hop, and staying alive. Director Doff infuses a zany absurdity to the action, and with some of the set ups, he perhaps could have even gone further – although the bits on rabbit pellets and a fork as a weapon are to be admired. One of the songs drags on a bit too long, but mostly the creativity is fun to watch, as is the collision of teenage group dynamics, the generational clash, and the social commentary. The film is in the mode of some of Edgar Wright’s best work, so if that’s your style, you’ll find this a treat.
Greetings again from the darkness. A phone call from her divorce attorney awakens Rachel. She’s already running late for work and for dropping her son Kyle at school. Her estranged husband is being ruthless in the negotiations, while her mother’s health is deteriorating. Her hairdressing gig is falling apart, and the financial strain is becoming too much. Rachel is having what most of us would agree is a bad day. But when she lays on her horn at the truck in front of her at a signal light, the man confronts her. She refuses to apologize for not offering up “a courtesy tap”, and the man’s demeanor immediately shifts as he spouts, “I don’t even think you really know what a bad day is.”
Thanks to the prologue, we see the man in the truck (Russell Crowe) pop some pills, break into a house, severely beat a man, and proceed to set the house on fire. This human wrecking ball is the same man Rachel (Caren Pistorius) refuses to apologize to. Her morning has been hectic and stressful, but his has been disastrous. Her bad day is about to get much worse. Imagine if “Mayhem” from the Allstate commercials was in a bad mood and ready to seek vengeance. Crowe plays the menacing man in a menacing truck.
Director Derrick Borte (THE JONESES, 2009) and writer Carl Ellsworth (the underrated horror thriller RED EYE, 2005 and DISTURBIA, 2007) have created an extremely volatile dangerous cat and mouse between Rachel and The Man. As he proceeds to destroy those in her life, she fights to save her son by using her wits. During the film, we see some vicious acts of violence and some spectacular car crashes. There is also a lesson about cell phones – the remarkable handheld computers that we run our lives from – in a battle of convenience versus security risk.
Over the opening credits we see and hear a montage of road rage episodes of real people “losing it”, and the corresponding commentary. It sets the stage, but not for what our initial impressions tell us. While a statement is made about de-funding or under-funding the police, the filmmakers avoid turning this into a giant political agenda. Instead, it’s a good old fashioned manic-thriller in the vein of Spielberg’s underrated DUEL (1971), THE HITCHER(1986), and FALLING DOWN (1993). Extreme stress can generate anger which results in a loss of control, and that’s what we witness here in extreme form.
20 years ago Russell Crowe won the Oscar for GLADIATOR, and his current bloated face and body are picture perfect for a man who has slipped over the edge. Two scenes allow him to flash some of that extraordinary talent: the initial interaction with Rachel and son Kyle (Gabriel Bateman), and then again in the diner with Rachel’s attorney played by Jimmi Simpson (“Westworld”). Caren Pistorius holds her own as the frantic, perpetually late mother, but that’s not surprising given her excellent work in the underrated SLOW WEST (2015). Keep Shelly in Athens offers up a nice remake of “Don’t Fear the Reaper”, as we are reminded to always keep an eye on your candy cane scissors.
This was the first film to open wide in theatres since the pandemic began.
Greetings again from the darkness. This is the next entry in my “Revisited” series, where I re-watch and then write about (not a traditional review) a classic movie. “City Slickers” could have been an apt name for this 1972 film, though it would have forced a new title for Billy Crystal’s 1991 comedy. DELIVERANCE was directed by John Boorman, and the script was adapted from James Dickey’s 1970 novel by the writer himself. Many have referred to this as a man-against-nature film, and it certainly works as an adventure tale; however, I find the psychological elements just as fascinating – the primal instincts and the personal transformations.
Those nine notes are every bit as iconic as the JAWS theme. “Dueling Banjos” always sends a chill up my spine, as I recall certain scenes from the film that are forever etched into my memory. We don’t even have to wait long to hear the song. It’s the first real sequence after the opening credits which feature only the banter of four buddies animatedly discussing their weekend canoe trip down the Cahulawassee River before a dam is built and the area flooded for a hydro-electric plant. During the banter, in a bit of foreshadowing, we hear Ned Beatty’s character ask, “Are there any hillbillies” where they are headed. The first glimpse of the four men occurs as they stop for gas and interact with the locals.
The personalities of each are quickly established. Lewis (Burt Reynolds) is the alpha male, and the one pushing the group to take the trip. Ed (Jon Voight) is Lewis’ friend who wants to be like him, though he lacks the confidence. Bobby (Ned Beatty) is an insurance salesman, who looks down on the locals and would rather be playing golf. Drew (Ronny Cox) is a nice guy, and the one who connects musically for the guitar and banjo picking with the local boy (Billy Redden) perched on the porch. It’s a fun, yet unsettling, scene to watch as the two pick away on their instruments. Their smiles end abruptly when the boy turns away in disgust as Drew tries to shake his hand. It’s not the last time the outsiders will be rebuffed.
These are suburban men, settled in life, being pushed outside their comfort zone by wannbe-adventurer Lewis, who is the epitome of 1970’s machismo. His angry proclamation that “they’re drowning a river” is followed up with “because it’s there”, as an answer to why they are taking the trip. Lewis’ life vest flaunting his arms and chest, and his aggressive oratory (including the ironic, “You can’t judge people by the way they look, Chubby”) contrast with the conservative dress and mannerisms of the other men: Ed smoking a pipe, Drew strumming a guitar, and Bobby’s squishy body. For the first half of the film, Reynolds mesmerizes as the cocky Lewis.
As the men make their way down the river, they experience the sudden adrenaline rush that Lewis promised. Shooting the rapids on the river is truly man-against-nature, and the adventure that director Boorman and writer Dickey want us to initially believe is at the heart of the story. One of the key exchanges occurs at the campsight that night as Lewis acknowledges Ed’s “nice life, nice job, nice wife, nice kids”, and then asks him directly, “Why do you come on these trips with me, Ed?” It’s clear Ed is happy with his life, but he desperately wants to feel the power of being a survivalist and “real man”. It’s because of this exchange, that we find Ed’s hunting trip and face-to-face with a deer the next morning so gut-wrenching.
The second day finds some truly peaceful times with nature, and some stunning camera work and shots of nature courtesy of cinematographer Vilmos Zsigmund. It’s in these shots where we “get it” – the appeal of becoming one with nature. Of course, it’s once things seem so right, that things go so wrong. A drastic shift occurs. Ed and Bobby are confronted by local hillbillies in the most despicable way. Fear fills the screen and our minds. The menacing mountain men are played by Herbert “Cowboy” Coward (not really an actor) and Billy McKinney (whom you’ll recognize from FIRST BLOOD, THE OUTLAW JOSEY WALES, and many other roles). Still today, the sequence is terrifying and difficult to watch, and it’s when “squeal like a pig” entered our lexicon, while “He got a real purdy mouth” became seared into our brain.
Immediately following the nightmare sequence with the hillbillies, comes one of those psychological exchanges that elevate the film to greatness. Four frantic and desperate men debating “the law”, when in actuality, they are debating self-preservation. The close-up of Ned Beatty’s face says as much as any line of dialogue, and, as is often the case, a moral dilemma is resolved by choosing the path of least resistance. The day presents more horror, as Lewis and Drew meet with disaster, while Ed’s transformation takes place. It should be noted that the film’s budget was so tight, the actors performed their own stunts – including Jon Voight’s tense (and impressive) climb up the face of the rock cliff.
Director John Boorman was a 5-time Oscar nominee, including HOPE AND GLORY (1987). He also helmed one of my sleeper favorites, THE EMERALD FOREST (1985), as well as coming right out of the gate with his first feature (and cult favorite) POINT BLANK (1967), starring Lee Marvin and Angie Dickinson. Writer James Dickey wrote the 1970 novel and adapted his own novel for the screen. He was a novelist, poet, and college professor, as well as being named U.S. Poet Laureate. My favorite Dickey quote is, “The poet is one who, because he cannot love, imagines what it would be like if he could.”
For Ned Beatty and Ronny Cox, it was their feature film debut. Mr. Beatty had a 40 year acting career (he retired in 2013), and notched an Oscar nomination for NETWORK (1976), while seemingly appearing in most every movie in the 1970’s and 1980’s. He may be best remembered as Lex Luthor’s bumbling henchman in SUPERMAN (1978) and SUPERMAN II (1978), and kids today would recognize his voice as Lotso in TOY STORY 3 (2010). He also became good friends with Burt Reynolds, and was cast in many of Reynolds’ later films. His career allowed him to play a widely diverse roster of characters, and one of his often-forgotten best was in THE BIG EASY (1986). Mr. Cox is approaching a 50 year acting career, and he is also a talented singer-songwriter. His best known roles are as the Police Lieutenant in BEVERLY HILLS COP (1984) and BEVERLY HILLS COP II (1987), and as a corporate executive in both ROBOCOP (1987) and TOTAL RECALL (1990). In addition to his many movie roles, Cox appeared in numerous TV series throughout the years, and one of my favorites was a small town family drama entitled “Apple’s Way”, which ran for two seasons, 1974-75.
Jon Voight is an actor every movie lover is familiar with. As he approaches his 60th year in the business, the highly decorated actor has been nominated for four Oscars, winning for COMING HOME (1978), starring opposite Jane Fonda. His other nominations were for playing a gigolo in MIDNIGHT COWBOY (1969), a bad guy in the thriller RUNAWAY TRAIN (1985), and as Howard Cosell in ALI (2001). More recently he has been recognized for his stellar work in the superb cable TV series “Ray Donovan”. His daughter is Oscar winner Angelina Jolie, and Mr. Voight has had such memorable roles as boxer Billy Flynn in THE CHAMP (1979), Jim Phelps in MISSON: IMPOSSIBLE (1996), a sleazy hunter in ANACONDA (1997), and President Franklin Roosevelt in PEARL HARBOR (2001). And of course, we must mention the classic Jon (“John”) Voight episode of “Seinfeld.” JAWS fans might be surprised to know that he turned down the Hooper role that ultimately went to Richard Dreyfuss.
A remarkable 60 year career ended when Burt Reynolds passed away in 2018. Reynolds was a star running back for Florida State University before an injury ended his pro aspirations and caused him to pursue acting. For an extended period of time in the 1970’s and 1980’s, Reynolds was the biggest box office draw among actors. Some of his most popular films during the streak included: THE LONGEST YARD (1974), the SMOKEY AND THE BANDIT franchise (1977, 1980, 1983), SEMI-TOUGH (1977), SHARKY’S MACHINE (1981), THE CANNONBALL RUN (1981) and II (1984), and THE BEST LITTLE WHOREHOUSE IN TEXAS (1982). Most of these films played off of Reynolds’ extraordinary charm and good looks (and iconic cackle), while he often strutted tongue-in-cheek as he worked extensively with a close group of friends. He later experienced some personal relationship issues, financial difficulties, and extreme health scares. Although he continued to work during the late 80s and early 90s, it was his excellent supporting work in STRIPTEASE (1996) and BOOGIE NIGHTS (1997) that really vaulted him back into the Hollywood scene. The latter of those two movies nabbed him the only Oscar nomination of his career. Reynolds continued to work right up until the end of his life, spanning a career of almost 200 credits (TV and movies). Some of you fellow old-timers out there might recall Reynolds’ first recurring role was as Quint in “Gunsmoke”, the longest running TV series until eclipsed by “The Simpsons” (and by “Law and Order” in seasons, though it has about 150 fewer episodes). In DELIVERANCE, Reynolds’ Lewis is “a man’s man” – the kind of guy the other suburban dads aspired to. His on screen magnetism is obvious, and stardom followed. Reynolds spent most of his adult life in front of a camera – either movies, TV, paparazzi, or talk shows. And lest we forget, though he claimed to have tried, Reynolds became the first male centerfold for “Cosmopolitan” magazine in 1972, the same year this movie hit. That smirk, cigar and bear rug created quite a sensation at the time – brilliant marketing from editor Helen Gurley Brown.
While the Cahulawassee River is fictional, the filming location was most decidedly real. Cinematographer Vilmos Zsigmund captured the stunning beauty of Tallulah Gorge and the Chatooga River in northeastern Georgia. His camera work leaves no doubt as to nature’s double edge sword of beauty and danger. Mr. Zsigmund was a 4 time Oscar nominee, winning the award for CLOSE ENCOUNTERS OF THE THIRD KIND (1977). He was also responsible for THE DEER HUNTER (1978), HEAVEN’S GATE (1980), THE TWO JAKES (1990), and THE BLACK DAHLIA (2006). Editor Tom Priestley received his only Oscar nomination for his work on this film. Mr. Priestley also served as Editor on THE GREAT GATSBY (1974), TESS (1979), and 1984 (1984), and is the son of English writer John Boynton Priestley.
Ned Beatty’s wife and John Boorman’s son have brief appearances as Ed’s family, and writer James Dickey has a small but key role as the hulking Sheriff of Aintry, who doesn’t buy the men’s recap of events. Reynolds dominates the screen for the first half of the movie, and Mr. Beatty shines in his degradation, but it’s Voight’s transformation into a semblance of Lewis that proves most remarkable. Rarely have primal instincts and survival mode been more effectively presented on the silver screen than in this film. This “guys’ weekend” turned nightmare received 3 Oscar nominations (Best Picture, Best Director, Best Editor), but this was the same year that CABARET beat out THE GODFATHER in a couple of categories, so DELIVERANCE took home no awards … although we will always have those 9 notes.
*Note: “Dueling Banjos” was credited to Eric Weissberg and Steve Mandel, but there was a lawsuit filed by Arthur “Guitar Boogie” Smith, who wrote “Feudin’ Banjos” in 1955.
As a bonus for reading this far, here is a short video of Steve Martin and Kermit the Frog performing “Dueling Banjos”:
Greetings again from the darkness. Very little outside ‘the norm’ is required for teenagers to ostracize one of their own. Sometimes it’s a haircut or a brand of shoes, or even some other minor detail that sets them apart. But when it’s a mental illness, the tribe can be merciless. Director Thor Freudenthal (DIARY OF A WIMPY KID, 2010) takes on Julia Walton’s 2017 novel, with a screenplay from Nick Naveda. The film features two rising young stars and addresses some of the challenges brought on by the uncertainties associated with a mental illness.
Charlie Plummer (so terrific in LEAN ON PETE, 2018) stars as Adam, a high school senior who has dealt with the challenges of undiagnosed mental health issues since he was quite young. His father abandoned the family years ago, and Adam’s devoted mother (Molly Parker, “House of Cards”) is not only patient and loving, but also committed to researching any possible treatment that would lead Adam to a better life. On the other hand, Adam and his mother’s new live-in lover Paul (Walton Goggins) don’t exactly see eye-to-eye on things, leading to more anxiety for Adam.
In an interesting and unique approach, director Freudenthal allows us to not only hear the voices Adam hears, but also see the hallucinations and visions he sees – three of whom are Rebecca (AnnaSophia Robb, THE WAY WAY BACK), a sweet, hippie-ish optimist; The Bodyguard (Lobo Sebastian), a cigar-chomping, bat swinging he-man; and Joaquin (Devon Bostick), an inappropriately horny ‘best friend from a 90’s move.” On top of that, there is a black mist that periodically manifests, enveloping Adam and bringing on crippling fear and isolation. After a years-long stream of drug therapy, Adam is pronounced “treatment resistant” and diagnosed as schizophrenic. Adam’s only mind-calming escape is when he’s cooking. He knows his way around the kitchen and his goal is to attend Culinary School after graduation.
One day, Adam has a psychotic break during Chemistry class. He gets expelled, which jeopardizes his Culinary School dream. His mother gets him admitted to a Catholic School run by Sister Catherine (Beth Grant) at the same time he is accepted into an experimental drug trial. He’s allowed to stay in school as long as he takes his meds and maintains his grades. It’s here where he meets the dynamic Maya (Taylor Russell,WAVES, 2019). Maya is smart and ambitious and proud, and the two quickly form a bond – an interesting bond between two smart high school kids carrying their own burdens and holding their own secrets.
Sister Catherine is balancing the specific needs of Adam with her responsibility to the school, and then there is also prom and graduation to deal with. With the new drug, the voices and visions disappear, but Adam has some issues with the side effects. A desperate plea for help from Father Patrick (Andy Garcia), the school priest, provides a boost as Adam tells him, “It’s nice to be listened to and not just observed.” That line provides significant insight into what it’s like to have this affliction, and that’s really where the movie excels … putting us in the shoes of a schizophrenic and allowing us to experience the good and bad moments. What can Adam trust? His eyes? His ears? His mind?
Adam and Maya are both trying to figure out who they are, at the same time learning what it really means to love someone. Adam refers to his illness as his “burgeoning insanity”, and in fact, schizophrenia does have a history of accelerating over time once it strikes a young person. The movie succeeds in taking away some of the mystique of mental illness, by making it approachable and something we want to better understand. There is a visual reference to Van Gogh’s “Starry Night” that might be a bit too “nail on the head”, but Freudenthal’s movie is profound and features two very talented young actors. The humanity beneath the surface of those society would rather pretend don’t exist is effectively compared to those stricken with cancer … those we would do anything for. I watched this film back-to-back with another teen-drama-romance new release entitled CHEMICAL HEARTS, and it’s extremely rare to find two such thought-provoking films centered on a pair of high school students … but quite a treat (although I believe all 4 actors are long past high school age).
Being released on August 21, 2020 in THEATERS ONLY
Greetings again from the darkness. In the mid-1960’s Cat Stevens wrote the song “The First Cut is the Deepest.” It’s a beautiful and poignant song that has been a hit single for many artists, including Rod Stewart (1977) and Sheryl Crow (2003). Although the song is not associated with this film from writer-director Richard Tanne, I couldn’t stop thinking of it as the story unfolded – unsure if any teen romance has ever captured the sentiment with more emotional depth. The film is based on the 2016 novel, “Our Chemical Hearts”, by Krystal Sutherland.
Henry Page (Austin Abrams, PAPER TOWNS) is a high school senior, who proclaims as our narrator, “You are never more alive than when you are a teenager.” Henry also laments that “nothing remarkable” has happened in his life yet. That changes quickly the day the teacher-sponsor of the school newspaper calls Henry and new student Grace Town (Lili Reinhart, CW series “Riverdale”) into the office to inform them they will be co-Editors this year. However, the remarkable part for Henry isn’t achieving his goal of being Editor, rather it’s meeting Grace.
Grace is not nearly as excited as Henry for the assignment, but agrees to edit the paper as long as she doesn’t have to write. It turns out Grace is beyond damaged, she’s a shattered soul. A recent car crash took the life of her true love boyfriend, and left her leg severely damaged, instantly ending her track career. In contrast, Henry’s hobby is Kintsugi, an ancient Japanese tradition of re-assembling broken pottery. Yep, Henry is a fixer, albeit a sensitive one, and Grace is broken. Despite Henry’s best intentions, we see where this is headed.
Henry falls quickly and hard for Grace, though she’s much slower to come around. She’s grieving and filled with guilt, and Henry is simply too young to understand what she’s going through – although he gives all he can. Every teenager believes they have the strangest home life on the planet, but Grace may very well take the prize. Hormones, drama, romance, New Jersey, and Neruda’s “100 Love Sonnets” all play a role here, and mostly we are mesmerized by two outstanding young actors. Ms. Reinhart brings exceptional depth to a difficult role, and she and Mr. Abrams are terrific together. I watched this film back-to-back with another teen-drama-romance new release entitled WORDS ON BATHROOM WALLS, and it’s extremely rare to find two such thought-provoking films centered on a pair of high school students … but quite a treat (although I believe all 4 actors are long past high school age).
Greetings again from the darkness. I’ll admit to knowing very little about professional wrestling, so this was the first I had heard about actor David Arquette’s scandal from nearly 20 years ago, as he promoted his movie READY TO RUMBLE (2000). Documentarian David Darg and Video director Price James collaborate here as co-directors to deliver a documentary on one of the strangest, most off-the-wall stories I’ve ever seen … and one that fits well with the reputation of the professional wrestling world.
In a sport that thrives on good guy vs bad guy, David Arquette became the most hated man in wrestling. The power brokers in the industry determined a publicity stunt with his becoming WCW Champion would lead to a boon for the business. The fan and wrestler backlash was harsh and severe, and Arquette claims it made him persona non grata in both the sport and in Hollywood, though his math doesn’t add up. He discloses his “10 years of rejections” for acting roles, when the wrestling brouhaha goes back 20 years. And on top of that, he has worked pretty consistently over those two decades – albeit mostly in projects that don’t appeal to mainstream audiences.
So all these years later, here comes David Arquette in his attempt to re-enter the world of wrestling and gain respect from those that think he disrespected their beloved sport. The temptation here is to label the documentary and Arquette a joke, but he seems so sincere in his desire to find his way, that we catch ourselves following his journey with interest. And it’s not always easy to do so. There is one moment in particular: Arquette is wearing a purple bedazzled wizard cape while sitting on a horse and vaping, when he states, “I’m sick of being a joke”. Umm.
Arquette is likely best known for his role in the SCREAM movies, of which there were four between 1996 and 2011, and a fifth is on the way for 2021. Or perhaps he is best known as the ex-husband of “Friends” star Courteney Cox, with whom he has a daughter. Then again, maybe his fame is derived from being part of a family entrenched in entertainment. This includes his acting sisters Rosanna, Patricia and Alexis (who died in 2016), brother Richmond, father Lewis (a well-established character actor), and grandfather Cliff, who created the popular character Charley Weaver.
We meet Arquette’s wife Christine McLarty (who looks like she could be Courteney Cox’s younger sister), a career news reporter who is now a film producer, and she seems to share our confusion on why David is pursuing this at age 46 – after a heart attack, which resulted in stints and blood thinners. When he speaks of his previous alcoholism, anxiety, and other mental and physical health issues, we hope this is his way of improving his health. However, as we follow him on the road, we realize, it really is about the wrestling and redemption.
The journey leads to a “backyard wrestling” match where amateurs looking to humiliate the actor pretty much beat the heck out of him. It’s at this point where he decides to train, and heads off to a facility in Virginia, followed by Cancun and Tijuana street wrestling, segments that prove quite entertaining. The pride of a wrestling match is mentioned, and we watch a ROCKY segment where Arquette chases a chicken, and is called “crazy white boy” while a Spanish version of “The Last Kiss” is played. I warned you this was a strange one.
At times we can’t help but think this is a hoax in the same way in which Joaquin Phoenix parlayed his acting “retirement” into I’M STILL HERE, a mockumentary on his pursuit of a hip hop career. The difference is that Arquette really trains and really wrestles, ending with a match at the “Legends of Wrestling” in Detroit against Ken Anderson. This is a film that feels like a gag when it starts, but very real by the end. It’s not enough to motivate me to go back and watch some of those terrible David Arquette movies, but it’s enough to tip my cap to a man pursuing respect and redemption.
Available at Drive-ins on August 21, 2020 and VOD on August 28, 2020
Greetings again from the darkness. Actress Hedy Lamarr is still remembered today for so many reasons. Often described as the most beautiful actress of all-time, she turned down the lead roles in both GASLIGHT and CASABLANCA (both eventually went to Ingrid Bergman). Her best known role was in SAMSON AND DELILAH (1949), and she was the inspiration for both Disney’s SNOW WHITE and Catwoman in the original “Batman” comics. Married and divorced six times, she’s in the National Inventors Hall of Fame for being co-inventor of ‘frequency hopping’ technology that is still used today for cell phones. Beyond all of that, some may know Ms. Lamarr is considered to have performed the first (non-pornographic) on screen female orgasm in ECSTASY (1933). And what better way for director Danny Wolf to open his documentary chronicling nudity in movies than with the actress whose career started with such a bang?
We hear a bunch of industry folks recall the first time they saw nudity on the big screen, and some actors and actresses look back on the first time they appeared nude in a movie. For the most part, director Wolf takes us in chronological order through the various stages of film nudity, dating back as far as 1887. However, he wisely includes a prologue dealing with the present day status of power dynamics, the #MeToo movement, and, of course, the Harvey Weinstein case. There is a stunning collage of those who have been accused of improper and/or illegal behavior – the faces are familiar, but, sadly, there are too many to name. We are even informed that today, actors and actresses typically have very detailed contractual protection in regards to nudity.
The steady stream of talking heads includes perspectives from authors, casting directors, film directors, art historian, professors, film critics, and, as mentioned, actors and actresses. Before breaking into the segments divided by decades (60’s, 70’s, 80’s, etc), we are provided a history lesson on the early years. For me, this was the most interesting chapter as it details the infamous Hays Code, the Catholic Legion of Decency (that “C” rating is pretty rough!), and the twenty year reign of Joseph Breen (the Breen Light was needed for go-ahead). There is also a brief profile of nude model Audrey Munson and her fascinating impact on statues, print, and cinema, and ultimately a tragic life spent mostly in an asylum (she died at age 104). This early segment also features the “secret” behind Chesty Morgan playing DOUBLE AGENT 73, the rise of “Monster Nudies” and “Nudie Cuties”, an interview with Mamie Van Doren. It concludes with Roger Vadim’s AND GOD CREATED WOMAN (1956) starring Bridget Bardot, effectively ending the Hays Code era.
As the film treks through the eras, in the 1960’s we see the impact of Janet Leigh’s shower scene in Hitchock’s PSYCHO, and Marilyn Monroe proves nudity doesn’t kill a career. This was also the time of European influence on American cinema, and 1968 began the MPAA ratings system, with Brian DePalma’s GREETINGS (with Robert DeNiro) as the first Rated X movie (since edited to an R), and MIDNIGHT COWBOYbecoming the first mainstream movie to carry an X rating.
Director Joe Dante talks us through much of the 1970’s as porn films like DEEP THROAT changed the landscape. It’s also the era where CARNAL KNOWLEDGE proved true movie stars could appear nude, and the decade that gave us LAST TANGO IN PARIS and THE LAST PICTURE SHOW. On the lower budget scale, this was peak Roger Corman time (the great Pam Grier is interviewed), the height of Drive-in movies (including cult favorite I SPIT ON YOUR GRAVE with Camille Keaton interviewed), and the notorious CALIGULA with commentary from Malcom McDowell.
Director Blake Edwards had the honor of ending the 1970’s with Bo Derek as a perfect “10”, and kicking off the 1980’s by having Mary Poppins (his wife Julie Andrews) appear topless in S.O.B. The decade of the 80’s takes some heat for serving up plenty of lame music and movies, but there were some memorable moments as well. Eric Roberts and Mariel Hemingway spend some time talking about STAR 80 and PERSONAL BEST, the latter which was the first mainstream film to feature a love scene with lesbian athletes. A highlight here is director Amy Heckerling ruminating on her classic FAST TIMES AT RIDGEMONT HIGH.
The 1990’s revived the “erotic thriller” genre (BASIC INSTINCT), as well as the NC-17 rating, of which Philip Kaufman’s HENRY & JUNE became the first recipient. The 1990’s were also the decade of BAD LIEUTENANT, THE CRYING GAME, BOOGIE NIGHTS, SHOWGIRLS, and AMERICAN PIE (the re-birth of the teen sex comedy). So, honestly, no word can possibly describe such a diverse group of films with nudity. The decade could easily support its own documentary, much like the 1970’s.
There is some insightful commentary surrounding contemporary cinema, including FIFTY SHADES OF GREY, and the inclusion of older actors and actresses in the “action”. Some of the best commentary during the film comes from Diane Franklin, Sylvia Miles, an old Russ Meyer interview, Liz Goldwyn (Samuel Goldwyn Jr’s daughter), Malcolm McDowell, and film critic Richard Roeper. But it’s director John Cameron Mitchell who provides the most searing observation on contemporary cinema when he states (paraphrased) – today the left would say any nudity or any sex scene is exploitive. And that’s the core of the debate. In this “Post-Weinstein” era, what is the “right” way to tell these stories and show these characters in a realistic manner, and yet do so in a way that isn’t exploitive, or puts actors or actresses in a situation that they feel uncomfortable or will regret? Proper conduct by those in power and straight communication between all involved seems like a good start. What would Hedy have to say?
Greetings again from the darkness. One need not be a Dickens expert to enjoy this re-imagining of his “The Personal History, Adventures, Experience and Observation of David Copperfield the Younger of Blunderstone Rookery (Which He Never Meant to Publish on Any Account)”. Yes, that’s the novel’s actual title, so there is little wonder it’s typically referred to by only the main character’s name.
Posted by David Ferguson 
Movie Reviews from the Dark 