Greetings again from the darkness. If you are surprised to find a movie about an all-men’s middle-aged synchronized swim team, then you’ll likely be shocked to learn that another film on the same topic, LE GRAND BAIN (Sink or Swim), was released earlier this year, and these follow up a 2010 documentary MEN WHO SWIM covering the Swedish Men’s synchronized swim team. That’s right … three films! It is with great pleasure that I report director Olive Parker and writer Aschlin Ditta have delivered a charming and heartfelt movie that is really quite enjoyable, and more nuanced than you might pre-judge it to be.
Rob Brydon (THE TRIP) stars as Eric, a successful accountant going through a mid-life crisis that negatively affects his work, his marriage to Heather (a terrific Jane Horrocks), and his relationship with his teenage son Billy (Spike White). Eric spends his office days in a foggy haze, waiting for 6:00 pm so he can hit the local pool for a few laps – his only time alone without thoughts of boredom. On one of these evening dips, he (and we) get quite a visual … 7 men in goggles and caps sitting on the pool floor in a coordinated manner.
Soon enough, thanks to his math and analytical skills, Eric is invited to join the swim club (first rule of swim club: Don’t talk about swim club!) consisting of team leader Luke (Rupert Graves), dentist Kurt (Adeel Akhtar), young scofflaw Tom (Thomas Turgoose), recent widower Ted (Jim Carter), former youth footballer Colin (Daniel Mays), the “new guy” (Ronan Daly), and “Silent Bob” (Chris Jepson). Rather than the island of misfit toys, it’s a group of slightly damaged men – each with their own story of why life isn’t so great at the moment. We learn about each right along with Eric, and easily see how he fits right in. This group alternates drowning their sorrows with a pint at the local pub with nearly drowning each other at the local pool … with only the best intentions, of course.
Once the lads learn there is a competition in Milan, they bring on local swim teacher Susan (a spunky Charlotte Riley, “Peaky Blinders”) to coach them towards respectability. Sure, we get a few clichés and the predictability of events is usually spot on; yet, there is a core to the story and to each of the men that brings a welcome depth. Their coordination in the water leads to their better balance on dry land (aka, everyday life).
This is far from traditional cinematic masculinity, and instead shows us the impact of friendship and purpose. The original reason for forming the team was to protest the meaningless of life – to find their purpose. This is accomplished through the brilliance of gentle British humor (think DANNY DECKCHAIR, THE FULL MONTY, EDDIE THE EAGLE), and the clumsiness of full-bodied men in a pool … accompanied by Tom Jones’ version of “It’s a Man’s, Man’s, Man’s World”.
Greetings again from the darkness. Paul Lieberstein is best known and easily recognizable as Toby, Michael Scott’s HR nemesis on “The Office”. Mr. Lieberstein also wrote and directed many episodes of that popular TV show, and now he turns his talents to the big screen: donning all 4 hats as writer-director-producer-actor in his feature film debut as a filmmaker. It’s a romantic-comedy of pain, and the featured pain comes in both varieties: physical and emotional.
Fred (Lieberstein) is a long-term paralegal at the law firm his dad co-founded. He’s a frumpy every-man suffering in silence with loneliness and back pain so debilitating that his morning ritual is often performed by sliding prone on the floor through his house. A long-awaited appointment with a back specialist (played by BRIDESMAIDS director and “The Office” producer Paul Feig) is comprised of numerous smart-ass one-liners from the doctor that result in no help for the patient and the dreaded diagnosis of “the trifecta of back and neck pain”.
In addition to this physical pain, Fred is miserable at work as he’s forced to take direction from a cocky millennial lawyer (Clark Duke), who is the firm’s new partner now that Fred’s protective dad is retiring. He’s also miserable in his personal life due to loneliness. While we see that all this pain is interconnected, it takes a fortuitous encounter with Regan (Rosemary DeWitt), who is in need of a divorce attorney, to start Fred on the path of discovery and recovery.
Regan refers Fred to her acupuncturist Dr. Kuhang (Raymond Ma), who is astounded at the musical tones the injected needles produce along Fred’s spine. The leads to one of the film’s more outlandish recurring gags in the movie – a quite unique and humorous situation involving a cello. Other supporting work is provided by screen veterans Sam Anderson, Robert Pine (Chris Pine’s dad) and Brian d’Arcy James as Regan’s husband. Ike Barinholtz also provides a brief comedic cameo as an orderly, and Scott Hutchison delivers a welcome musical interlude. Mr. Hutchison, founder of Frightened Rabbit, sadly passed away earlier this year.
This is a nice little low budget indie that shows how even a temporary interpersonal connection can provide a spark of hope and remind us of how important fulfillment in life can be towards our physical and emotional health. Since the film is based on Mr. Lieberstein’s own back pain, he provides a special thanks to John E Sarno, MD, author of “Healing Back Pain: The Mind-Body Connection”. The film is wry and sad, while at the same time somewhat illuminating and hopeful. It’s a pleasant debut from filmmaker Lieberstein.
Greetings again from the darkness. Our biggest fear was that Greek director Yorgos Lanthimos would one day soften the twisted edge he blessed us with in THE KILLING OF A SACRED DEER (2017), THE LOBSTER (2015), and DOGTOOTH (2009). That day may yet arrive, but not today and not with his latest. It’s his first time to direct a screenplay he didn’t write, which likely explains this being his most accessible film – though labeling it “mainstream” would be a huge stretch. So brace yourself for an unusual and odd costume period piece unlike anything you’ve seen before.
Co-writers Deborah Davis (her first screenplay) and Tony McNamara (TV background) deliver biting dialogue and treacherous situations, and benefit from three staggeringly terrific lead actress performances. Olivia Colman stars as Queen Anne, Rachel Weisz as Lady Sarah Churchill, and Emma Stone is Abigail. The three combine for one of the strangest and most convoluted love triangles and power struggles in history.
It’s very early 18th century and Britain is at war with France. Queen Anne is frail and in ill health due to severe gout and who knows how many other ailments. Her erratic behavior and quick temper convey childlike behavior from an adult body with a crown. Lady Sarah (Winston’s great-great grandmother, if I’ve calculated correctly) has strategically become the Queen’s trusted political advisor and often governs in her stead, while also sharing moments of intimacy. Sarah pulls no punches and certainly doesn’t subscribe to the ‘kill ‘em with kindness’ approach, and instead frequently insults the Queen to her face. When Sarah’s cousin Abigail appears after her family’s fall from grace (her father lost her in a card game), Sarah takes pity on her due to Sarah’s fondness of Abigail’s father during her childhood.
Abigail’s naivety and kindness soon win over the Queen’s affections. Is her sweetness an act? Is it due to ambition or desperation … is there even a difference here? We soon learn Abigail treats conniving as a profession – she views it as her only path back to respectability, and she’s willing to take on many acts lacking in respectability to charm her way into the inner sanctum. We are plopped into the wicked fun, delicious cat-fighting, strategic backstabbing and crafty political and personal maneuverings … right up until the story turns to vicious bleak darkness in the final act.
It’s fascinating to watch three women hold the power during this era, as the noblemen are relegated to constantly playing catch-up (kind of like the real world) and struggling to figure out the rules of the game. Power struggles abound, as do director Lanthimos stylistic touches. Noblemen played by Nicholas Hoult and Joe Alwyn are frequently dressed in frilly costumes, giant wigs and heavy make-up – quite the contrast to what we typically see in these period pieces. Other Lanthimos touches include royal duck races, pet bunnies representing deceased children, and fisheye lenses used from every conceivable angle.
Ms. Colman and Ms. Weisz were both in THE LOBSTER, and both have a knack for the Lanthimos style, and Ms. Stone surprisingly is also a natural with the twisted, vicious material. Each of the actresses have an extended close-up allowing them to show-off their immense and subtle talent … Ms. Colman’s is especially impactful. Extreme profanity (numerous c-words and f-words) is at times startling and effective, and the music is unique and diverse – as we would expect. As an added bonus, it requires little imagination to connect the dots to our contemporary political state, although that approach would likely stifle one’s enjoyment of the film. Mr. Lanthimos has quickly reached the ‘must-see’ list of directors, with a guarantee that we are going to see something unusual and interesting. It’s one of the year’s best, even if it’s not for everyone.
Greetings again from the darkness. “The Negro Motorist Green Book” was a travel guide highlighting safe places for African Americans to stay, eat and visit from the 1930’s through the mid 1960’s. Yes, it was a real publication and yes, there was a real need for it during the Jim Crow era. The book makes for a nice movie title, but this sterling dramedy from director Peter Farrelly focuses more on the budding friendship of two men from vastly different worlds separated by a few city blocks.
Mr. Farrelly is one-half of the infamous Farrelly Brothers who have directed such raunchy comedy hits as THERE’S SOMETHING ABOUT MARY (1998) and DUMB AND DUMBER (1994). This is quite the change of pace for him, as it is for co-stars Mahershala Ali (Oscar winner last year for MOONLIGHT) and heavy drama stalwart Viggo Mortensen. We see a crisp blend of the era’s harsh racism and the inherent comedy of a buddy road trip featuring a working class NYC Italian-American and an upper crust, well-educated, world class African-American pianist.
The film kicks off in 1962 at the Copacabana, a mob-controlled club where Frank Anthony “Tony Lip” Vallelonga (a beefed up Mortensen) gives us an up-close look at his bouncer skills. He’s quite good at his job. When the club closes for renovation, he takes a job as a chauffeur/bodyguard for Dr. Don Shirley (Ali), who is beginning an 8 week tour as the featured player in a jazz trio through the Midwest and Deep South. Tony Lip is a walking Italian cliché, while Dr Shirley is a regal black man … in fact, he might view himself as royalty – living alone in a swank apartment above Carnegie Hall. This is a good time to note that Tony Lip’s son Nick Vallelonga co-wrote the script, is a producer on the film, and even makes an appearance as a State Trooper.
Inspired by the true story of this trip and the lifelong friendship that ensued, we get to know both men as they get to know each other. Tony Lip is a streetwise man who is comfortable with his lot in life, while Dr. Shirley plays his role in society while quietly stewing internally. He flashes his toothy grin to disarm the adoring white audiences, but then sucks down his Cutty Sark in the evening, as he is good enough to perform for them, but not good enough to dine with them (or even use their restroom). There are times the racism gets violent and that’s where Tony Lip comes in.
Don helps Tony write romantic and intimate letters to his wife Dolores (played by Linda Cardellini), while Tony teaches Don about KFC and Little Richard … proclaiming “I’m blacker than you!” in one of the film’s funniest moments. It’s an awkward buddy film that in real life developed into a decades-long friendship – one that only ended when both died in 2013. It could be described as a twisted DRIVING MISS DAISY with a dose of THE HELP. It’s certainly a crowd-pleaser, even delivering a mushy ending not dissimilar to that of PLANES TRAINS AND AUTOMOBILES. Of course we don’t mind, because after spending a couple of hours with these two, we are fine with a feel-good ending. The film is showcase for two terrific actors, and for those that don’t know, the real Tony Lip appeared in a few projects such as “The Sopranos” and DONNIE BRASCO. Expect to see these two actors get some love at Oscar time, and this is one of the few that can be recommended to just about every movie lover.
Greetings again from the darkness. Despite her regular role in all 7 seasons of “Gilmore Girls” and her co-lead role in the 6 season run of “Mike and Molly”, it was her raunchy turn in 2011’s BRIDESMAIDS that turned Melissa McCarthy into a star. Since then, she has been the lead in a string of comedies written specifically for her: IDENTITY THIEF, THE HEAT, TAMMY, SPY, THE BOSS, and GHOSTBUSTERS: ANSWER THE CALL. Mixed in was an overlooked little film called ST. VINCENT, a Bill Murray vehicle in which Ms. McCarthy first flashed some dramatic chops. With this latest, she shows that she’s no one-trick pony, but the character is a bit too narrow, and the material a bit too bland to convince us whether she is up to becoming an Oscar-caliber dramatic lead.
That’s not to say her performance isn’t noteworthy, because it is. She plays Lee Israel, a real life writer who had success as a celebrity biographer in the 1970’s and 1980’s, and then turned to a life of crime as a forger of collectible letters. This (mostly) true story of Ms. Israel features Ms. McCarthy in a poorly cut wig, very little make-up and the frumpiest of frumpy clothes. She’s also an aggressively bitter person who, in the film’s opening scene, get fired from her job in 1991 for drinking scotch at her desk and telling a co-worker to “F-off”. Classy, she’s not. Her actions and this firing are our indoctrination into her caustic personality.
Director Marielle Heller is no stranger to examining the life of someone who is not so happy, as she is best known as the writer/director of THE DIARY OF A TEENAGE GIRL (2015). Her latest is adapted from Lee Israel’s memoir by screenwriters Nicole Holofcener (ENOUGH SAID, 2013) and Jeff Whitty. After her firing, Ms. Israel hits desperate times. Her publisher (an always terrific Jane Curtain) tells her that a Fanny Brice biography has no market, and that no one wants to work with Israel anymore … she has burned every bridge. Fanny Brice and Tom Clancy both take some shots here as Israel tries to defend herself by dragging down others … a personality trait not uncommon among those who are so miserable in life.
As we watch this alcoholic, slovenly, abrasive person muddle through days – only showing any affection for her pet cat – there is quite a clever scene that could seem like filler were it not for what happens soon afterwards. Ms. Israel is at home watching THE LITTLE FOXES on TV and we see her perfectly mimicking Bette Davis. This ability to imitate others leads her into a career path of forging and selling personal letters “from” the likes of Noel Coward and Dorothy Parker. It also finds her crossing paths with miscreant Jack Hock (a flamboyant and energetic Richard E Grant). The two misfits form an odd friendship and partnership that begins to cash flow.
A sequence between independent bookstore owner Anna (a talented and under-utilized Dolly Wells) and Lee Israel teases us with the idea of a love interest, but Ms. McCarthy is unable to convince us that Lee’s vulnerability is genuine, and the potential relationship soon fizzles thanks to Lee’s crankiness and criminal path. While watching, I couldn’t help but feel that I was being manipulated into feeling sympathy towards Lee Israel, simply because she is a lonely female criminal. Typically male criminals in movies are social outcasts to be despised and/or feared, so this trickery is a bit unsettling. Personally, I find it difficult to muster sympathy towards any criminal, no matter their gender or how pathetic their life and personality might be.
The best film to date about a forger, CATCH ME IF YOU CAN, worked because of the cat and mouse between good and bad, and the criminal at the center was overflowing with personality. Here, we are stuck with a curmudgeon who uses multiple typewriters to create fake letters … all in the confines of a dirty apartment she shares with her cat. Were it not for Ms. McCarthy’s expertise at delivering caustic one-liners or Mr. Grant’s impeccable comic timing, this drama would fall flat. If we ever doubted the manipulation, be prepared for two kitty cat scenes designed to elicit “aww” from the audience.
Director Heller does a nice job of presenting an early 1990’s feel for New York, including the gay bar Julius’, which is evidently still in existence today. There is also an interesting point made about how collectors want to believe, so the authentication process is crucial to the industry – though we can’t help but wonder about potential fraud. On the downside, there is really nothing dryer than watching a writer write … even someone as miserable as Lee Israel, and even on collectible typewriters. Additionally, the score and soundtrack were much too loud for the film, and proved quite distracting in certain scenes. A Paul Simon song near the end seems like a plea for Oscar consideration, but by then, we are just relieved that the bad guy got caught. But that kitty … aww.
Greetings again from the darkness. It’s a shame that many will immediately write off this as just another ‘skateboard movie’. While it’s true that the characters spend a good deal of each day skating, talking about skating, or hanging out in a local skate shop, a more accurate description would be: life lessons presented from a street level view. Remarkably, this is Jonah Hill’s directorial debut. We all know Mr. Hill and his raunchy sense of humor from his acting in such movies as KNOCKED UP, SUPERBAD, and THE WOLF OF WALL STREET, and here he flashes an intimate knowledge of what it’s like to be an outsider … those on the fringes of mainstream society.
Stevie (Sunny Suljic from THE KILLING OF A SACRED DEER) is a junior high kid (slightly built for his age) who gets regularly pounded by his older brother (yet another excellent turn from Lucas Hedges). Their single mother (Katherine Waterston) is more concerned with her own life and mostly clueless as to what goes on with her boys, both inside the house and out.
As one who doesn’t really fit in at school, Stevie happens to notice a group of skaters trash-talking and seemingly having a good old time. He quietly starts hanging around the group, absorbing the nuances of their (mostly) good natured put-downs, and gazing in awe at their skating abilities. Stevie begins the painful and slow process of teaching himself how to skate – one fall at a time. A montage of nasty spills in the driveway make the point that bruises, blood and frustrations are just part of the process.
This group of older boys consists of the leader Ray (Na-Kel Smith, a professional skateboarder and musician), party animal and aptly nicknamed F**KS**T (Olan Prenatt), filmmaker wannabe and also aptly nicknamed Fourth Grader (Ryder McLaughlin), and Ruben (Gio Galicia), the youngest who is only a year or two older than Stevie. We quickly learn the personality type of each. Ray is working towards skating professionally and escaping the hood. F**KS**T simply loves having fun chasing girls, partying, and hanging with friends. Fourth Grader always has his camera and has enough vision to know he wants to make a movie, while young Ruben is insecure and confused about what makes a man – probably the most tragic of all.
As Stevie learns the ropes, we see he is constantly smiling – just happy to finally be a part of something. His fearlessness and ability to absorb pain (thanks to his brother) allow him to be quickly accepted and guided by the guys … some of it good, some of it a bit questionable. The language throughout is more realistic than what we’ve become accustomed to. There are plenty of slurs and profanity-laced trash-talking that wouldn’t pass today’s PC auditors, but director Hill pulls no punches.
One of the downsides is that Lucas Hedges isn’t given much to do here – though he is spot on with the type of bully we all recognize. Instead, the story is a skate movie only to the extent that the sub-culture can be a haven where outsiders come together. Although the film is set 20 years ago, it’s quite interesting to see how these outsiders are so similar regardless of the era. Everyone needs to connect with others, whether they be band members, athletes, or skaters.
Hill has created a spontaneous, quasi-documentary feel thanks to his filming techniques and by using only 3 real actors (young Suljic is outstanding). Trent Reznor and Atticus Ross deliver a terrific score, and there are a couple of beautiful shots of the boys freewheeling down the middle of a busy road with a colorful sky as backdrop. We can’t help but notice some similarities to SKATE KITCHEN, KIDS, LORDS OF DOGTOWN, and even CLERKS, and Hill’s debut is less a story, than a snapshot for those who tend to look past the fringes.
Greetings again from the darkness. It’s been 6 years since Scott Martin directed his last feature film, and most of his credits are as a producer. This time out, the Texas filmmaker proves his love of the western genre, and he’s so committed to the cause that he dons many Stetsons for the project: writer, director, producer, editor, and one of the lead actors. We always admire those who overcome obstacles and see their vision become a reality. Every movie doesn’t need to be a classic … it’s a Herculean task just to get a film made, and hopefully it provides some entertainment value (which this one does).
Mr. Martin plays Jake, who along with his friend Travis (Clint Hummel) travels the old west countryside finding trouble and making waves at every turn. Jake is the sharpshooter, while Travis is the ladies’ man. Neither seem to have any marketable skills, other than the knack for staying alive – which is an accomplishment given that they seem to be shot at quite frequently and run out of every place they ride into … even Mexico!
The opening shootout sets the mood for us, as it comes across as tongue-in-cheek, with just enough realism to let us know danger exists. Danny Trejo has an entrance worthy of his cult status as Mexican General Morales … a man very displeased with Jake and Travis. An annoying electronic score accompanies a chase scene that crosses the border and ends at a Cavalry outpost run by a Colonel played by the great Michael Pare (EDDIE AND THE CRUISERS), whose two scenes are over far too quickly.
Jake and Travis accompany city slicker Jim Andrews (Christoph Sanders) on a road trip via horseback to Big Kill, Arizona … a town Jim’s brother has promised him is booming. A recurring punchline of “Never heard of it” adds some levity every time Big Kill is mentioned. Instead of a lucrative silver mining town, they find a once boom town gone bust, and now the town is run by the most unethical “Preacher” (steely-eyed and square-jawed Jason Patric) that one is likely to find. The preacher is aided by his muscle: quick-draw Johnny Kane (Lou Diamond Phillips in a gaudy red suit and evil grin) and Stephanie Beran as a knife toting Felicia Stiletto – just one of the character names pulled straight out of the comic book universe.
Jim’s brother (played by KC Clyde) is located, and though Jim begins the courting process with local girl Josie Strong (a standout Elizabeth McLaughlin), the troubles and violence and literal backstabbing in town soon draws the boys into the fracas. Much of the film has the look of kids playing dress up, but as a tongue-in-cheek western, there is enough entertainment value to hold our interest for 2 hours. Fortunately music director Kays Al-Atrakchi resorts to more traditional trumpet-based western music after that opening chase. Most of the shootouts provide some humor, whether intended or not, but we can be sure the cast had a grand time making this one … that shines through loud and clear – especially in a town where the undertaker is named Digger.
Greetings again from the darkness. All movie watchers have at least two categories of films: those they will watch any time of any day, even if they can only catch a few minutes; and those they can’t imagine ever watching again since the first time through was so painful/miserable/boring/unentertaining. Now you may have other sub-categories as well, but you likely have at least those two. For me, the first category (the good one) includes both GODFATHER movies, PULP FICTION, THE RIGHT STUFF, DOUBLE INDEMNITY, JAWS, THE PRINCESS BRIDE, REAR WINDOW, and well … there are actually far too many to list! The second category is comprised of: THE BOUNTY HUNTER, PROBLEM CHILD, BORAT, TORCHLIGHT, DEATH BECOMES HER, CADDYSHACK 2, just about every Jerry Lewis movie without Dean Martin, and well … there are plenty more, but I’m getting a bit nauseous thinking about this.
The point is that for 33 years, CLUE has been on my ‘never-watch-again’ list. All these years later, I’m unable to provide any specifics about my initial viewing experience, other than it featured Martin Mull (never been a fan) and was entirely too silly and over-the-top for my ‘highly refined’ tastes (although I like “The Three Stooges” and Peter Sellers’ “Pink Panther movies) A friend, whose movie judgment I trust, has been encouraging/goading me into giving CLUE another try … to the extreme that she recently gifted me the DVD, thereby removing inconvenience as an excuse for avoiding it any longer. Anyone familiar with my “revisited” blog entries will know that what follows won’t be a traditional movie review. Expect some scattershooting.
So here I sit, pondering the movie universe and the ramifications of my having very much enjoyed this second viewing of CLUE – laughing many times and making note of just how clever it is … even amidst the packaging of silliness and slapstick in which it comes wrapped. There are, as you might imagine, some odd things associated with the film. First of all, it’s based on a Parker Brothers (now Hasbro) board game. Would you be excited about a Checkers movie? How about Yahtzee or Candyland? Doubtful. Next, few films have a writer/director like Jonathan Lynn. Mr. Lynn is Cambridge educated, has written best-selling books, is known for a popular British TV series, produced and directed many stage plays, is an accomplished actor – he even played Hitler on stage (in a comedy), and has directed other comedy films such as MY COUSIN VINNY (1992) and THE WHOLE NINE YARDS (2000) . In yet another odd twist, Mr. Lynn co-wrote the CLUE screenplay with John Landis, who of course, directed the comedy classics ANMAL HOUSE (1978) and THE BLUES BROTHERS (1980).
Set in a creepy New England mansion on a stormy 1954 evening – replete with on-cue thunder and lightning – the twice Oscar nominated composer John Morris (he co-wrote the BLAZING SADDLES theme with Mel Brooks) greets us with a tongue-in-cheek score seemingly sampled from every late night horror movie from the 1950’s. A group of splendidly dressed guests are arriving for a dinner party after each received a mysterious and provocative letter from the evening’s anonymous host. We soon learn that the letters’ connective tissue is that each of these folks are somehow associated with … GASP … the government! Even in 1985, this was a sure-fire way to characterize people as villainous.
It doesn’t take long for the first murder to occur, and other dead bodies are soon to follow – each in mysterious ways – leaving much doubt, and no shortage of suspects, as to the identity of the culprit. In fact, no one is to be trusted (other than possibly those already murdered). The confined environment of the mansion adds to the suspense, confusion, and comedy of the proceedings – as does a stellar cast of actors who know how to be funny in a serious kind of way.
Tim Curry stars as Wadsworth, who we assume is the butler and the fast talker and walker who seems to be running the show for the unknown host. Mr. Curry, of course, is forever enshrined in midnight movie lore as Dr. Frank-N-Furter in THE ROCKY HORROR PICTURE SHOW (1975). Wadsworth is assisted in the evening’s affairs by Yvette, played with jiggly wonder by Colleen Camp in a French maid uniform barely able to contain her assets. Ms. Camp has been a hard working actress since the 1970’s, was a two-time Razzie nominee in the 90’s, and can also be seen in this year’s THE HOUSE WITH A CLOCK IN ITS WALLS. The guests include Mrs. Peacock, played by Eileen Brennan, best known as the sadistic Drill Instructor in PRIVATE BENJAMIN (1980) and the heart-of-gold waitress in THE LAST PICTURE SHOW (1971); the dressed in black Mrs. White, played by comedy giant and two-time Oscar nominee Madeline Kahn, so terrific in her memorable roles in BLAZING SADDLES and YOUNG FRANKENSTEIN; Mr. Plum, played by Christopher Lloyd, his shock of white hair highlighting the BACK TO THE FUTURE franchise; Mr. Green, played by Michael McKean who only the year before was David St Hubbins in THIS IS SPINAL TAP, has been recently seen as savant lawyer Chuck McGill on “Better Call Saul”, and is likely the only relative of a signer of the Declaration of Independence in the movie; Colonel Mustard, played by the aforementioned Martin Mull whose career covers stand-up comedy, songwriting, TV series, movies, pro football, and his love of art; Miss Scarlet, played Lesley Ann Warren, nominated the previous year for her role in VICTOR VICTORIA, the star of one of my favorite offbeat 80’s films CHOOSE ME, and whose ex-husband John Peters was executive producer on CLUE; and finally, Mr. Boddy played by Lee Ving, known best for his punk rock band Fear. There are also a few cameos worth noting: Howard Hesseman from “WKRP in Cincinnati” appears as The Chief; Jane Wiedlin, a founding member of the band The Go-Gos who had a mega-hit with “Vacation” has a brief appearance as The Singing Telegram Girl; and Bill Henderson appears as a cop – this after a jazz singing career that crossed paths with the likes of Dizzy Gillespie, Frank Sinatra, Quincy Jones and others. Sharp-eyed viewers might also recognize the stranded motorist as actor Jeffrey Kramer, seen in JAWS as the deputy putting out ‘Beach Closed’ signs.
Filmmakers Lynn and Landis drew inspiration not just from the board game, but also such films as Neil Simon’s MURDER BY DEATH (1976, with Eileen Brennan), Agatha Christie’s AND THEN THERE WERE NONE (1945) and MURDER ON THE ORIENT EXPRESS (1974), TEN LITTLE INDIANS (1965, based on Ms. Christie’s stage version), and William Castle’s classic horror film HOUSE ON HAUNTED HILL (1959). CLUE has a very theatrical look and feel, as something that would work equally well on stage as on screen. The strong presence of Tim Curry almost forces us to notice some similarities to THE ROCKY HORROR PICTURE SHOW, though CLUE offers no musical interludes – other than the exceptional use of the song “Life is But a Dream”.
As far as I know, CLUE was the first film to be distributed to theatres with three different endings (quite a feat for a murder mystery). With the initial release, you were likely to see a different ending than someone at a theatre across town. Fortunately, the Blu-Ray version provides all three – none more likely or reasonable than the other (that’s part of the gag). Fox recently announced a remake of CLUE starring Ryan Reynolds is in the works. Expect it to look much different than the 1985 version. Many of the jokes from the film wouldn’t be acceptable or tolerated in this current age of political correctness, yet Madeline Kahn, with her impeccable comedic delivery offers up the timeless line: “Life after death is as improbable as sex after marriage”. Yes, the film is campy and screwball and filled with slapstick. However, it may also be described as a crackling-dialogue-driven, whip-smart whodunit movie dressed up as an outrageous slapstick comedy … something I failed to recognize on my first viewing more than 30 years ago. Consider that mistake corrected.
Greetings again from the darkness. Jim Morrison’s lyrics, “This is the end. Beautiful friend. This is the end” have been interpreted to have many meanings over the years, and they also seem just right for what is likely the final on screen performance from one of the few remaining iconic movie stars. Robert Redford claims this is probably the end of his nearly 60 year acting career. If that’s true, he couldn’t have selected a better project for his victory lap. The film itself is a nice mixture of mass appeal and the independent projects that Mr. Redford has long supported. As for the character he plays, it too fits him like a glove.
Filmmaker David Lowery (fresh off last year’s indie favorite A GHOST STORY) has adapted the story from a 2003 “New Yorker” article by David Grann, and it’s based on a true story – one that’s a bit difficult to believe … well, at least until Mr. Redford brings Forrest Tucker to life. Mr. Tucker escaped from San Quentin at age 70, and it was just one of his 16 prison escapes during a lifetime of robbing banks and getting caught. The story is that Tucker simply enjoyed the work, and went about it in the most gentlemanly possible way – often described by bank employees as polite and nice. It’s the perfect character for Redford’s trademark twinkle and grin acting style.
Most of this portion of the story takes place in 1981, and the film captures not just the era, but also the essence – something much deeper than clothes and cars. Starring alongside Mr. Redford is Sissy Spacek as Jewel, and their chemistry allows the quiet moments between their characters to work as effectively as their (sometimes) playful verbal exchanges. Tucker’s “crew” is manned by Danny Glover as Teddy, and the great Tom Waits as Walter. Waits is always fascinating to see on screen, and here he gets one especially good scene to shine. They are referred to as “The Over the Hill Gang” (in contrast to “The Hole in the Wall Gang” from Redford’s classic BUTCH CASSIDY AND THE SUNDANCE KID.
Casey Affleck (reunited with director Lowery for the third time) plays Austin Texas detective John Hunt, who spent a great deal of time chasing Tucker, and actually put the puzzle pieces together. Tika Sumpter appears as Hunt’s wife, Gene Jones is memorable as a Bank Officer, and for you Austin music lovers, Lefty Frizzell’s granddaughter makes a brief appearances. Other far too brief appearances include Isiah Whitlock, Jr, Keith Carradine (weirdly brief), Robert Longstreet, John David Washington, and Elisabeth Moss. The parade of familiar faces can be a bit distracting, but it’s understandable why so many wanted to work with Lowery and Redford.
Joe Anderson’s cinematography is terrific, and the film is oddly devoid of violence. If not mistaken, I believe we only see Tucker’s gun once … and that’s in a glove compartment. There is a certain easiness and warm fuzzy to the film, somewhat conflicting with what we would expect following an armed bank robber!
Of course, the reason we buy into the gentlemanly outlaw is the performance of Robert Redford. Charming and easy-going comes pretty easily to a man that is charming and easy-going. Director Lowery even treats us to a quick clip from young Redford’s film THE CHASE, and does so within a delightful montage of Tucker’s prison escapes. Few actors get such a perfect farewell tribute, and though it’s not quite Ted Williams hitting a home run in his final at-bat, at least Redford gets to tip his cap to the fans. Since he’s moving his career off screen, let’s bid a fond and appreciative farewell to the man that once proclaimed, “I’m better when I move”.
Greetings again from the darkness. It was a good news – bad news kind of day for westerns. First, it’s announced that Mel Gibson will direct a remake of Sam Peckinpah’s 1969 classic THE WILD BUNCH. Talk about an undesired and unnecessary project! Fortunately, the movie gods understood this gut-punch and as a peace offering, delivered this near-masterpiece that doesn’t so much re-invent the Western, but rather provides a tonal and stylistic twist to the genre.
This is the first English language project from writer/director Jacques Audiard, who has previously delivered such powerful and well-crafted films as A PROPHET (2009), RUST AND BONE (2012), and DHEEPAN (2015). Based on the Patrick DeWitt novel, with a screenplay from Mr. Audiard and his frequent collaborator Thomas Bidegain, this latest is a very unusual film that teeters on satire at times, but is simply too bleak to be a comedy – although it’s too darn funny to be an outright drama.
A terrific opening sequence in 1851 Oregon features a nighttime shootout that sets the stage both visually and tonally for what we will experience for the next couple of hours. It’s beautifully shot and there is some misdirection on what exactly the Sisters brothers are made of. John C. Reilly is absolutely wonderful as Eli Sisters, the soulful forward-thinking one who also has a dash of goofiness to him. His younger brother Charlie Sisters, played by Joaquin Phoenix, is the slightly unhinged one who frequently follows in his hated father’s footsteps by drinking heavily. Charlie is alternatingly quietly menacing and drunkenly menacing. The two brothers are hired assassins, and while Eli dreams of a peaceful retirement, Charlie can’t imagine not doing what they do.
The brothers have been contracted by ‘The Commodore’, a rarely seen power broker played in brief glimpses by the great Rutger Hauer. They are to meet up with advance scout John Morris (played by Jake Gyllenhaal with a quasi-British accent) and kill Hermann Kermit Warm (Riz Ahmed), who has supposedly stolen from The Commodore. Of course, there is more to the story. Warm has actually developed a chemical compound that allows for the easy gathering of gold from waterways – remember this is the height of the Gold Rush.
This is kind of a road trip film … only it’s on a horse trail from Oregon to San Francisco, and it’s kind of a buddy film … only it’s two brothers. Along the way, bonds are forged and broken, and paths are crossed with a kind-hearted saloon gal (Allison Tolman), a greedy town lord (trans actor Rebecca Root), and the brothers’ mother played by the always interesting Carol Kane. There is also a cringe-inducing run-in with a spider, an unfortunate end for a favorite horse, and the hilarious first use of a toothbrush. There is also a Dallas joke that drew quite the laughter from my Dallas audience.
It’s such an unusual film, and it’s presented with a non-traditional pace and rhythm. The moments of laughter surround a core with a dramatic story of destiny, the meaning of life, dreams and visions, and the greed of man. All of this is set to yet another terrific score from Alexandre Desplat and the visually striking photography of Benoit Debie. Director Audiard has delivered a bleak comedy or a comical drama, and he’s done so with more than a fair share of violence. Whether you consider yourself a fan of westerns or not, this one deserves a look.
Greetings again from the darkness. If you are surprised to find a movie about an all-men’s middle-aged synchronized swim team, then you’ll likely be shocked to learn that another film on the same topic, LE GRAND BAIN (Sink or Swim), was released earlier this year, and these follow up a 2010 documentary MEN WHO SWIM covering the Swedish Men’s synchronized swim team. That’s right … three films! It is with great pleasure that I report director Olive Parker and writer Aschlin Ditta have delivered a charming and heartfelt movie that is really quite enjoyable, and more nuanced than you might pre-judge it to be.
Posted by David Ferguson 
Movie Reviews from the Dark 