SOUL (2020)

December 30, 2020

Greetings again from the darkness. With their first 22 feature films, Pixar excelled at balancing the eye candy and action kids favor with the second level intellect needed to simultaneously keep adults entertained. As proof, one need only think of such classics as TOY STORY, CARS, and THE INCREDIBLES. Surprisingly, film number 23 is the first Pixar film aimed directly at adults. It’s a marvelous companion piece to the brilliant INSIDE OUT (2015), but be forewarned, there is simply nothing, or at least very little, for kids to latch onto.

The film is co-directed by 2 time Oscar winner Pete Docter (INSIDE OUT 2015, UP 2009) and Kemp Powers (the screenplay and stage production of ONE NIGHT IN MIAMI, 2020), and they were joined on the screenplay by Mike Jones. And yes, it’s a brilliant script to go along with the always stunning Pixar visuals and effects. Brace yourself for a metaphysical exploration of the meaning of life and finding one’s purpose. As we’ve come to expect on Pixar projects, the voice cast is deep and filled with well-known folks such as Graham Norton, Rachel House, Alice Braga, Richard Ayoade, Phylicia Rashad, Angela Bassett, Questlove, Daveed Diggs, Wes Studi, and June Squibb. Leading the way is the dynamic duo of Jamie Foxx and Tina Fey.

Mr. Foxx plays Joe, a junior high band teacher still chasing his dream of performing jazz and experiencing the feeling that only music can provide … “the zone”. Instead, the school offers him a full-time teaching job, and his mother demands he seize the stability (and insurance) and give up his silly dream of jazz. As seen in the preview, shortly after an audition lands him his dream jazz gig, a freak accident occurs and Joe finds himself in “The Great Beyond”, where a conveyor belt takes those souls whose time has come to that giant bug zapper in the sky. Joe’s not willing to accept his plight and finagles his way into being a mentor for Soul 22 (Tina Fey) in “The Great Before” where unborn souls search for their “spark”. It’s all very existential.

After a look back at his life, Joe takes 22 to “The Hall of Everything”, which is the one segment in the film which felt underplayed … much could have been done with 22 looking for a reason to live. Instead, it’s a few great punchlines, including a Knicks gag that will surely play well among basketball fans. We learn of the fine line separating “lost souls” from those “in the zone”, and mostly we take in the banter between Joe and 22, as purpose and passion become the subjects of chatter.

As with most Pixar movies, multiple viewings are required to catch all the sight-gags, one-liners, and Easter eggs, however, the first viewing is like unwrapping a giant Christmas present. The opening Disney theme is hilariously played by a junior high school band, and the score is courtesy of Oscar winners Trent Reznor and Atticus Ross (THE SOCIAL NETWORK, 2010). Director Docter claims Pixar good-luck charm John Ratzenberger makes a vocal appearance, but I didn’t catch it. The film leaves us with the message that the meaning of life is simply living life … and keep on jazzing.

Available on Disney+

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Posted by David Ferguson

PROMISING YOUNG WOMAN (2020)

December 23, 2020

 Greetings again from the darkness. “Revenge is a dish best served cold.” The protagonist in writer-director Emerald Fennell’s (“Killing Eve”) feature film debut is a woman on a mission to avenge not just what happened to her friend, but also change the mentality of predatory men … one “nice guy” at a time. She is a #MeToo heat-seeking missile.

Carey Mulligan stars as Cassie, and when we first see her, she appears to be nearing blackout mode while drinking alone on a bench inside a bar. Most people have hobbies like crochet or golf. Cassie’s hobby, or maybe mission is a better word, is to lure men, with the appearance of a drunken easy score, and then scare them straight into respecting boundaries. She’s a non-violent vigilante (as opposed to Beatrix Kiddo) for morality and respect towards women.

As the film progresses, we pick up bits about what traumatized her to this extent. It turns out her best friend Nina was victimized by a group of men from their law school class. See, Cassie is the titular ‘promising young woman’ whose career dreams were dashed over what happened to her friend. Now, Cassie works in a coffee shop with a supportive and wise-cracking friend Gail (Laverne Cox, “Orange is the New Black”), who knows nothing of Cassie’s hobby … and neither do Cassie’s parents (Jennifer Coolidge, Clancy Brown) who can’t help but wonder what happened to their bright, ambitious daughter, and why she still lives at home with them.

Cassie’s mission gets momentarily de-railed when former classmate Ryan (an excellent Bo Burnham, THE BIG SICK) pops in to the coffee shop and awkwardly proclaims his long-time distant crush on her. The two are clumsy and believable together, and their relationship has more ups and downs than a pogo stick. For most movies, this would be enough to hold our attention, but not for ambitious filmmaker Fennell who has much more to offer. There is a cleverness to the presentation with four specific segments: a friend who didn’t believe her (Alison Brie), the law school dean who didn’t want to ruin a boy’s future (Connie Britton), a regretful defense attorney who took the money (Alfred Molina), and a bachelor party that gathers those who make up her nightmare.

Ms. Fennell is also an actor (and has a cameo in this one), and it’s clear she has a real feel for putting actors in the best position to maximize a scene. Of course, Ms. Mulligan is an outstanding actor on her own, but the actors benefit from Ms. Fennell’s work. Other supporting work is provided by Adam Brody, Christopher Mintz-Plasse, Molly Shannon, Max Greenfield, Chris Lowell, and Sam Richardson. The color palette is similar to an early Tim Burton movie, and in fact, Cassie’s home looks like a museum or possibly a middle-class Liberace setting.

There is a lot going on here, and some of it is quite uncomfortable – and sprinkled with dark humor in unexpected moments. Advice like “move on” and excuses like “we were kids” ring hollow to Cassie, who carries some guilt over what happened to Nina, and remains focused on attacking a system that enables inexcusable behavior. Ms. Mulligan embraces a character who possesses raw nerves and emotions she sometimes hides, while other times flashes in neon. This isn’t about a guy here or there who takes advantage, but rather a faulty system that protects these guys at the expense of victims. The ending is unusual and unexpected, and kudos to an exciting new filmmaker.

In theaters December 25, 2020

watch the trailer

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Posted by David Ferguson

FIRST COW (2020)

December 19, 2020

 Greetings again from the darkness. A modern-era woman (Alia Shawkat) is hiking along an Oregon river with her trusty dog. Something catches her eye and she begins tentatively brushing away decades of leaves and soot. Ultimately it turns into an excavation of two human skeletons nestled together. How many years since these two laid down for the last time? Why in this spot?  It’s a terrific way to begin a story, and does justice to what follows … all of which takes place in the early 19th century.

Director Kelly Reichardt has already made her mark with such standouts as CERTAIN WOMEN (2016), MEEK’S CUTOFF (2010), and WENDY AND LUCY (2008), and this time she adapts the screenplay with Jonathan Raymond from his 2004 novel, “The Half-Life”. Cookie (John Magaro, also seen in this year’s SYLVIE’S LOVE) is initially seen traveling west with a band of trappers. Skirting the law as they make their way in this new world, the men act as bullying brutes towards Cookie, a quiet and sensitive man. During one stop for camp, Cookie is rummaging the brush for food when he stumbles upon a naked Chinese man who is hungry and running from Russians (aren’t we all?). Cookie provides King-Lu (played by Orion Lee) with food and shelter, a Golden Rule act that comes full circle not long thereafter.

Cookie and King-Lu begin establishing something more than a friendship. It’s a life bond (but probably not in the way you might be thinking). It’s more natural instinct – a ‘two heads are better than one’ partnership. Despite the hardships of early frontier days, the two men share their version of the American Dream, and it’s about this time that our titular bovine makes her entry stage left. The cow belongs to Chief Factor (Toby Jones) who is eager to create a more refined life in this untamed wilderness. Cookie views the cow’s milk as the key to creating tasty biscuits (a rare treat), and King-Lu immediately recognizes the possibility of profit. The nightly heist features Cookie’s one-directional conversation with Evie the cow … presumably making her first screen appearance.

Ms. Reichardt’s film is not nearly as simple or slow moving as it appears. She fills it with a slow-build tension, especially in the second half. The film requires patience and attention to detail from viewers. How can something so quiet and peaceful be filled with such danger and difficulty? That’s the brilliance of the film. Supporting work is provided by Scott Shepherd as a military officer Factor tries to impress, the late Rene Auberjonois (whose presence seems a tip of the cap to Altman’s classic MCCABE AND MRS MILLER), Ewan Bremner (whose accent requires subtitles for comprehension), and Lily Gladstone as Factor’s Native American wife.

This is the first film I recall where a clarfoutis plays a key role, and there are sprinkles of dark comedy throughout … which plays well off the rugged characters and environment. William Tyler’s score and Christopher Blauvelt’s cinematographer mesh well with the fine performances throughout.  Ms. Reichardt opens the film with a William Black quote, “The bird a nest, the spider a web, man friendship”. We witness the friendship, and by the end, we wonder if it’s also a web.

Available on Showtime and streaming outlets

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Posted by David Ferguson

THE STAND IN (2020)

December 11, 2020

 Greetings again from the darkness. Few would understand the pressures of celebrity better than Drew Barrymore. She’s 45 years old and has been in front of the camera for 40 years. Most of us recall her as young Gertie in Spielberg’s ET: THE EXTRATERRESTRIAL (1982), and of course, her family tree spans much of Hollywood’s history – for instance, she’s the great-niece of Lionel Barrymore who played Mr. Potter in the Christmas classic, IT’S A WONDERFUL LIFE. This time out, she takes on dual roles, but Drew’s fan base deserves fair warning … it’s not the fluffy, light-hearted comedy you might be expecting.

Director Jamie Babbit (known mostly for her TV work, including “Silicon Valley” and “Gilmore Girls”) and screenwriter Sam Bain (creator of “Peep Show”) explore career success and fulfillment in life, especially as it relates to balancing celebrity status and having a meaningful personal relationship. Ms. Barrymore plays Candy Black, a pratfall comedy actress who has made a career with her catchphrase, “Hit me where it hurts”. Simultaneously, and under pounds of makeup, Drew also plays Candy’s stand-in/double, Paula, who dreams of one day being an actual actor in her own right. Candy is a high-strung addict who barely functions, while Paula is a wallflower whose income is dependent on Candy’s career.

One day on the set, Candy throws a tantrum. It’s a complete meltdown that results in an injury to a fellow actor. Of course it’s caught on video and goes viral. Just like that, Candy’s career screeches to a halt, and so does Paula’s. We then flash forward 5 years, and Candy has isolated herself inside her mansion, taking up woodwork and anonymously bonding online with fellow woodworker Steve (Michael Zegan, “The Marvelous Mrs. Maisel”). After being charged with tax evasion, Candy is sentenced to a rehab facility and cons her trusty stand-in Paula to go in her place. Once released, Candy’s much nicer stand-in continues the gig on an “apology tour” where soon she is welcomed back into the industry’s good graces (as Candy), and slowly takes over Candy’s life, including a non-virtual meet up with Steve.

Supporting work is provided by TJ Miller, Holland Taylor, Elle Kemper, Andrew Rannells, and Lena Dunham (in what’s basically a quick cameo). Things get a bit convoluted with the old Candy, the new Candy, and Steve, the guy stuck in the middle – who has secrets of his own. Despite the relatively few laughs in what is billed as a comedy, there are some pointed observations and commentary on the industry and for those whose ambition is to be famous. Soul searching and ‘finding one’s true self’ is never easy, and often our dreams may not be in sync with who we are. Drew Barrymore does a nice job in both roles, but it’s likely her fans will be expecting a different style movie. It’s also likely the message here could have been better delivered by choosing either a comedic approach or a dramatic one, as the blend doesn’t quite work on either front.

AVAILABLE IN SELECT THEATERS, ON DEMAND, AND DIGITAL ON DECEMBER 11, 2020

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Posted by David Ferguson

LA RESTAURACION (2020, Peru)

October 15, 2020

 Greetings again from the darkness. We don’t typically look to Peru for observant black comedy filmmaking; however this first feature film from writer-director Alonso Llosa (story co-written with Gustavo Rosa) is one of those pleasant surprises we usually only get from film festivals or a spontaneous streaming selection. It’s yet another reminder that an entertaining film doesn’t require a massive budget or a mega-movie star. A terrific story with relatable characters and heartfelt performances will do just fine.

Shots of Lima’s towering and shiny new skyscrapers open the film as we hear from the narrator who describes the booming economy, as well as Peru being “a country of builders that peaked during the Inca period”. That narrator is Tato Basile (played by Paul Vega), a 50-ish failure at life. He dropped out of school which kept him from pursuing his preferred career as an architect. His marriage didn’t last. He has no job, lives with his mother, is addicted to cocaine, and claims he is ‘psychologically incapable of working”. His mother Rosa (Attilia Boschetti) is bedridden and near death, and is fairly disgusted with her grown man son who should have figured out life by now. Still, she grudgingly gives him money for his habit. Her long-time trusted housekeeper and personal assistant Gloria (Delfina Peredes) has protected Rosa from the fact that the family funds are nearly depleted … and the once glorious mansion is crumbling.

One day Tato runs into old friend Raymond (Pietro Sabille), who is now a real estate tycoon cashing in on Lima’s boom market. Their conversation leads Tato to concoct an ingenious and devious plan that requires the assistance of Gloria, as well as Eladio (Luis Fernando Ananos Raygada), the family friend-gardener-handyman-driver, and Inez (Muki Sabogal), Rosa’s young caregiver. The idea is to sell the family house to Raymond for top dollar, and to keep the transaction a secret from Rosa by telling her the family home is being renovated. To pull this off, the co-conspirators will re-create her bedroom in a remote location, and pipe in construction noise and the familiar aroma of the neighbor’s stew. Of course the plan is ludicrous, but desperation for money often leads to poor decisions.

Llosa includes humorous moments and memorable characters, in addition to the life lessons that Tato learns about 3 decades later than he should. Rosa has a recurring acute punchline about disliking “social climbers”, and the score has a 1980’s “Miami Vice” vibe that complements the retro look and feel of the film (including the credits). Llosa’s film is sweet, funny, and sad, and is an example of excellent story-telling. Mr. Vega perfectly captures adult Tato as he finds the soul and love that he’s been lacking. This one might take some effort to track down, but you’ll likely find it worthwhile and entertaining. I sure did.

watch the trailer

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Posted by David Ferguson

2 HEARTS (2020)

October 15, 2020

 Greetings again from the darkness. We’ve seen it before. Two stories, seemingly unrelated, yet parallel. Only this time it’s based on a true story, and the 2017 book “All My Tomorrows” by Brian Gregory. Director Lance Hool and co-writers Veronica Hool and Robin U. Russin serve up a touching and inspirational story of how the lives of families can intersect, and how triumph can come from tragedy.

Admittedly, the film has a bit of Lifetime Movie Channel look and feel. It even begins with some conventional philosophy on life courtesy of our narrator: it’s either a miracle or it’s not, and life either happens to us or for us. These are neither particularly thought-provoking nor deep, however, they do set the stage well enough for the story. We first see an unconscious Chris Gregory (Jacob Elordi, THE KISSING BOOTH) being wheeled on a gurney into the surgical area of a hospital. His loved ones are obviously concerned. We then cut to a period many years earlier as a young Cuban boy passes out on a soccer field. We learn Jorge Bolivar has a lung disease, and has been told at various stages that he wouldn’t live past 12, 20, or 30 years old.

Despite the different time periods, we see the symmetry with the romantic interests of the men. Modern day college student Chris (also the film’s narrator) literally bumps into Sam (Tiera Skovbye, “Riverdale”), and the two become ‘Safety Buddies’ on campus – offering a ride to those students in need. An older Jorge (Adnan Canto, “Designated Survivor”) locks eyes with flight attendant Leslie (Radha Mitchell), which kicks off a whirlwind globe-trotting romance. Chris is a middle-class boy whose parents (Kari Matchett, Tahmoh Penikett) are loving and demanding. Jorge is part of a wealthy Cuban family forced to relocate to Miami due to political pressures under Castro.

Keeping up with the time period for Jorge and Leslie involves spotting the clothing styles and technology hints, and very few viewers won’t know where this is headed well before it gets there. The two staged weddings provide all kinds of cuteness, as does goofy, easy-going Chris. Life perspective is one of the key takeaways here, as is a fact that most people should already be well aware: organ donors make a difference and mean the world to those impacted. The film ends with a note on the Gabriel House of Care, a non-profit worth researching.

watch the trailer

 

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Posted by David Ferguson

ON THE ROCKS (2020)

October 4, 2020

 Greetings again from the darkness. Sofia Coppola cemented her place among top filmmakers with the instant classic LOST IN TRANSLATION (2003). Sure, she’s had other successes with THE VIRGIN SUICIDES (1999), MARIE ANTOINETTE (2006), and SOMEWHERE (2010), but it’s her thought-provoking and self-analytical film with Bill Murray and Scarlet Johansson that struck an emotional nerve for so many. This time, she reunites with Murray in what could easily be a companion piece, as it’s both familiar and not.

Rashida Jones (“Parks and Recreation”) stars as Laura, who is trying to find herself as a writer amidst the fatiguing responsibilities that go with being a mother and wife, and having age 40 staring her in the face. Marlon Wayans (WHITE CHICKS, 2004) plays her charming, just-started-a-new-business husband Dean, who may or may not be cheating on her. Whether it’s Laura’s concern over how “boring” she has become, or the little clues she finds … well, it’s probably nothing … but doubt grows into suspicion.

It’s at this point when Felix (Murray), Laura’s father, enters the story. Felix is a likable cad (probably an archaic word, but it fits), who has never been much of a father to Laura. Instead he chases fun and skirts, and begins convincing Laura that all men are like him. Director Coppola examines contemporary relationships, and the insecurities that come with a long-term commitment. Can one person be enough? Can men be trusted?

What follows is an offbeat father-daughter husband-spying adventure, and an ill-advised one at that. Felix pulls up in his Alpha Romeo, and the two enjoy caviar on their stakeout – with the top down on the convertible. This leads to a scene clearly written to take advantage of Bill Murray’s talents. As he zips the sports car through the city, he gets stopped by New York’s finest. Depending on your perspective, you’ll either view this as a prime example of white privilege, or as the benefits of spending one’s life being a good listener, attentive to others – a people person making connections.

There is a great line from Felix that carries a great deal of weight, although it’s easy to treat it as a ‘throw away” line. He advises Laura, “You need to start thinking like a man.” Spending time with her dad makes her wonder if he’s right – do all men think like him? This plays well against the non-stop yapping mother Laura gets regularly cornered by when dropping her daughter for school. Jenny Slate is perfectly annoying as the mother who not only still thinks the world revolves around her, but also that the world is still interested.

Of course, we know, and Laura figures it out: her father worships her. He may gallivant around the globe looking for his next notch, but he absolutely realizes what a beautiful soul his daughter is, and what a better person she is than him. Probably the best lesson Ms. Coppola offers is that communication is key … or lack of communication can cause a thought to spin out of control. Sofia Coppola and Rashida Jones are both daughters of giants in their field, and likely could relate to having a larger-than-life figure cast a shadow. Eagle-eyed viewers will spot Barbara Bain as Gran. Ms. Bain rose to fame as Cinnamon Carter in the 1960’s TV series “Mission: Impossible”. She’s now 89 years old and still working! Sofia Coppola has delivered yet another film that’s interesting and provides terrific conversation after watching.

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Posted by David Ferguson

ETERNAL BEAUTY (2020)

October 1, 2020

 Greetings again from the darkness. There is an odd line early on in which the psychologist says, “Don’t fight depression. Make friends with it.” What makes this an odd line is that Jane is a paranoid schizophrenic, and depression doesn’t seem to be a driving force in her life. Craig Roberts wrote and directed the film (his second feature as director). You might know Mr. Roberts as an actor. He played the lead in SUBMARINE (2010). His approach as a filmmaker is one that keeps the audience off-balance; in fact, we can simply state this one is weird.

Sally Hawkins (THE SHAPE OF WATER, 2017) plays Jane. She lives on her own thanks to medication. Her family is present, though not especially supportive. A flashback takes us to Jane’s wedding day where a younger Jane is played by Morfydd Clark (THE PERSONAL HISTORY OF DAVID COPPERFIELD, 2020). Jane is spurned on her wedding day by her husband-to-be, and it pushes her over the edge emotionally and mentally.

An early scene gives us a peek at current day Jane. She brings wrapped Christmas presents to her parents’ house, and promptly hands over the receipts to each family member. She purchased her own gifts, acts surprised and grateful as she opens them, and expects her parents and sisters to repay her for the gifts. It’s quite a scene.

We follow Jane through her days as she seems to drift in and out of awareness and reality. She periodically hears her phone ring, and by answering she hears the voice of her former fiancé. The red phones match the phone she was on during her last conversation with him on her wedding day. It’s her most painful and visceral memory, and one that Jane can’t seem to overcome.

Relationships between the parents and the sisters are quite something to behold. Penelope Wilton (THE BEST EXOTIC MARIGOLD HOTEL, 2011) is the mother prone to cruelty and confusion, whereas the father (Robert Pugh, MASTER AND COMMANDER) nearly fades into the wallpaper, though seems more empathetic. Jane’s sisters Nicola and Alice are played by Billie Piper (“Penny Dreadful”) and Alice Lowe (GET DUKED!, 2020). Nicola envies Jane’s ability to collect free money (disability), while Alice is estranged from their mother, and claims her “normal” life is boring.

When Mike (David Thewlis from Charlie Kaufman’s latest, I’M THINKING OF ENDING THINGS) enters the picture, it’s like a jolt of electricity from touching the wrong wire. Mike is somehow stranger than Jane, yet they manage to connect. As an example of the film’s odd dialogue, when Jane asks Mike how things are going, he responds, “Things were looking up for a few weeks, a couple years back.” That’s the type of exchange we deal with throughout, and it takes an inordinate amount of energy to process what we see and hear.

One shot from cinematographer Kit Fraser is a particular standout. It comes from inside a microwave, replete with rotisserie base and Jane’s face peering through the glass. There are numerous moments we’ve not previously seen or heard in movies … like the doctor clarifying if the patient is “fine or good”. Ms. Hawkins delivers another strange, but affecting performance … something she has mastered over the years. She always makes the character hers, and makes us care about her. An added bonus is hearing Ricky Nelson sing “I Will Follow You” … slightly more soothing than David Thewlis’ frantic electric guitar performance. It seems certain that filmmaker Roberts agrees that normal is boring, and he ensures his film and characters are not.

watch the trailer:

https://www.youtube.com/watch?v=9q_oBwY5AOk

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Posted by David Ferguson

KAJILLIONAIRE (2020)

September 24, 2020

 Greetings again from the darkness. A single month with new releases from both Charlie Kaufman (I’M THINKING OF ENDING THINGS) and Miranda July, is almost enough to make this movie lover forget for a moment that we are suffering through a global pandemic, raging forest fires, and the most obscene presidential campaign of my lifetime. Ms. July is an absurdly talented writer and filmmaker, and it’s her first feature length film since THE FUTURE (2011). Prior to that, she served up ME AND YOU AND EVERYONE WE KNOW (2005), and has a unique way of displaying her strange life observations. She and Kaufman are masters of quirk, and excel in twisting our minds.

Evan Rachel Wood stars as Old Dolio Dyne, daughter of Robert (Richard Jenkins) and Theresa (an unrecognizable Debra Winger). This is an oddball family of petty crime con artists who live in a run down, unused office next to the Bubbles, Inc. factory. And yes, they make bubbles in the factory … bubbles that seep through the walls into the office where this family sleeps. One of their scams is on the landlord (a surreal character himself) who has to explain to an always-negotiating Robert that “rent is an installment”.

The first part of the film allows us to get to know the family members. We see them pull off stealing mail from a neighboring post office box, and returning stolen goods for the reward. Ms. Wood stays attired in an oversized green track suit jacket, and has lowered her speaking voice by an octave, adding impact to her monotone liners. She’s socially awkward, and likely on the spectrum as she seems to be the smartest of the bunch. Daddy Robert is a control freak and has an emotional disability in regards to California earthquake tremors. He and Theresa show no signs of affection towards each other or Old Dolio.

An airline baggage scam results in the family meeting Melanie (Gina Rodriguez), an eager to join the grifters woman, whom Old Dolio sees as her replacement as both a daughter and partner. Jealousy ensues. Melanie is contrasted to Old Dolio by her bubbly personality, and by a wardrobe that is significantly more revealing than a tattered track suit. Old Dolio watches uneasily as Melanie is soon receiving the attention from Robert and Theresa that their own daughter craves.

The second half evolves into a film not so much about cons or heists (the film admits it’s no OCEANS 11), as about family dynamics. The twists and turns find Melanie helping Old Dolio break free of parental over-control in order to experience independence … and pancakes. Learning about warmth and affection from “normal” families is eye-opening for her, and sometimes a little confusing for us to follow.  Who is scamming whom, and when are they telling the truth?

Miranda July has created a crime-drama-comedy (dark comedy), with plenty of space to let the characters and dialogue breathe. “I’m Mr. Lonely” by Bobby Vinton kicks in periodically, and the score from Emile Mosseri (THE LAST BLACK MAN IN SAN FRANCISCO) complements it well. On the heels of last year’s team of family scamsters in PARASITE, this shaggy group has never met a swindle they wouldn’t try. And they never expected it to backfire with their own daughter. The divide between those who like the film and those who don’t was pretty clear after Sundance, and Miranda July will likely never be one to appeal to the masses. But for those of us who connect with her oddball way of seeing life, we appreciate the focus on what makes a family of outsiders click … especially when a superb performance from Evan Rachel Wood drives the film.

watch the trailer:

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Posted by David Ferguson

I’M THINKING OF ENDING THINGS (2020)

September 3, 2020

 Greetings again from the darkness. We should never look to Charlie Kaufman to pull us out of the pandemic doldrums, although he is an absurdly talented writer who specializes in unusual plots and oddball characters. Mr. Kaufman is also an over-thinker and a non-stop thinker – I would imagine his brain rarely goes quiet. This time out, he directs his own adaptation of Iain Reid’s novel, and the result is a mind and time bending existential crisis that leaves us feeling a bit down. Yet, as always, Kaufman’s work keeps our minds racing.

Jessie Buckley, who was so terrific in WILD ROSE (2019), stars as The Young Woman going on a blizzardy road trip with Jake (Jesse Plemons, THE IRISHMAN, 2019), her boyfriend of the last six weeks or so. They are headed to visit Jake’s parents who live in a “farmy” and remote area. Act 1 is spent in the car as the wipers flap, and the woman and Jake hold awkward conversation. We, as the audience, listen to her inner thoughts, including, “I’m thinking of ending things.” She is truly an outstanding actress, and carries much of the weight with this one.

The woman is not really unnamed, in fact, throughout the movie, she has multiple names including Lucy and Louisa. And character names aren’t the only fluid piece of Kaufman’s puzzle. She is variously labeled as studying Quantum Physics, a writer of poetry, and an artist. Are you confused yet?  If not, you will be.

Act 2 takes place at the farm house where Jake’s parents live, and it shifts the film from awkward to bizarre. Toni Collette (HEREDITARY, 2018) and David Thewlis (“Fargo”) play his mother and father, both excited for the visit, but unconventional, to say the least, in their social graces. Ms. Collette over-laughs just beyond the point of perplexing and nudges the beginning of downright weird. She and Thewlis are exceptional in their ability to keep Lucy off-balance, and Jake hyper-annoyed. We aren’t sure what to make of what we are seeing … and neither is Lucy. While none of these folks takes a single bite of the dinner spread, the tone turns to surreal. Overlapping time lines of past, present, and future become haunting and hypnotic.

The film itself is disorienting, and Act 3 does little to help us regain our equilibrium. Jake and Lucy finally start their drive back, as the snow begins falling even harder. Throughout the production, Kaufman includes references to William Wordsworth, Pauline Kael, Andrew Wyeth, Mussolini, and more. He also inserts clips of a high school janitor (played by Gus Boyd) as he goes about his duties. This janitor is part of a finale featuring an animated pig and a dance number … both of which occur after Jake and Lucy have debated the importance of Cassevetes’ A WOMAN UNDER THE INFLUENCE, and the performance of Gena Rowlands.

Oklahoma plays a role as both a setting and a reference musical, and a stop for ice cream at Tulsey Town, adds to the oddity and the feeling of dread that encompasses us for much of the movie (when we aren’t chuckling at the absurdities). Kaufman mixes genres with glee – horror, comedy, and psychological thriller all lead us to a dance scene and many unanswered questions about what is real and what is only in Lucy’s mind. We never see what attracted these two to each other, but we do wallow in their misery and discomfort. Charlie Kaufman’s previous screenplays include such brilliance as ETERNAL SUNSHINE OF THE SPOTLESS MIND, BEING JOHN MALKOVICH, and ADAPTATION, although this one may have more in common with his SYNECHDOCE, NEW YORK – a film that can wrestle with this one over which is his least accessible. An existential film where past, present, and future mingle and bizarre observations are made on aging and memory, can only fit into Charlie Kaufman’s oeuvre. It will surely make you think, though it may end with you asking ‘why?’

Netflix September 4

watch the trailer:

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Posted by David Ferguson

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