VICE (2018)

December 23, 2018

 Greetings again from the darkness. While it’s happening, we don’t always recognize life in terms of future historical merit. Time passes and perspective becomes possible. It’s at this point when we can reevaluate the actions and results of those involved. One might call this the benefit of hindsight, but philosopher George Santayana is credited with saying “Those who cannot remember the past are condemned to repeat it.” Filmmaker Adam McKay has moved on from his sophomoric comedies (STEP BROTHERS, ANCHORMAN: THE LEGEND OF RON BURGANDY) to full bore political satire, first with his “Funny or Die” videos (co-produced with Will Ferrell), then to his searing look at the financial crisis of the mortgage market with THE BIG SHORT (for which he won an Oscar for adapted screenplay), and now to the power dynamics within the Bush-Cheney administration … and how a quiet, unassuming insider became the most powerful man in America.

In one of the biggest casting head-scratchers of all-time, Christian Bale takes on the role of Dick Cheney. We are barely one scene in before all doubts are assuaged, and we are reminded yet again why Mr. Bale is one of the most talented and fascinating actors in cinematic history. With the weight gain, the hair, the growling voice (not unlike Bale’s Batman), the asymmetrical smirk – Bale becomes Cheney on screen and that allows us to focus on the manner in which filmmaker McKay unfolds the events – many of which we remember, even if we were blissfully unaware of the backstory.

Cheney is first seen in 1963 Wyoming as a drunk and somewhat rowdy youngster. The film then bounces the timeline to key events such as Cheney’s time as Donald Rumsfeld’s (Steve Carell) intern/lackey and the 1970’s (Bethesda, his being named youngest White House Chief of Staff, Ford’s loss to Carter, and the campaign for Wyoming Congressman). Cheney’s wife Lynne (played by Amy Adams) is portrayed as more ambitious than her husband (at least early on), and in one searing scene, yanks a young Cheney out of his funk and onto the upwardly mobile track. Were the timing 15 years forward, it’s not difficult to imagine Lynne as the rising political star.

The story really gets interesting once George HW Bush is elected and Cheney is brought back to D.C. as Secretary of Defense. From this point on, his near subversive quest for power is in overdrive. There are many quotes cautioning to ‘beware the quiet man’, and most fit the Cheney on display here. You’ve likely seen in the trailer where a finger-lickin’ George W Bush (Sam Rockwell) chows on barbeque as he offers the VP job to Cheney. Surprisingly, this is one of only two scenes where McKay makes Bush look like a buffoon. If you haven’t figured it out by now, it should be clear that McKay is not one to give the benefit of the doubt here … his mission is to highlight all ludicrous actions of our nation’s leaders during this time.

Supporting work is provided by a deep cast including Lilly Rabe and Allison Pill as the Cheney daughters (Liz and Mary), Justin Kirk as Scooter Libby, Bill Camp as Gerald Ford, LisaGay Hamilton as Condoleezza Rice, Tyler Perry as Colin Powell, Eddie Marsan as Paul Wolfowitz, and Don McManus as David Addington. There is also Bob Stephenson as Rush Limbaugh, cameos from Naomi Watts and Alfred Molina, and Jesse Plemons as the narrator whose true role is held at bay until near the film’s end.

September 11, 2001 brings on a very interesting segment when there is an emergency White House evacuation, and Cheney is whisked into a secure room and appears to overstep his authority … at least that’s how it appears to everyone other than Cheney. He is described as having power “like a ghost”, and it’s this scene and the follow-up discussions about Afghanistan, that McKay believes best exemplifies Cheney’s lust for power, and how ‘right and wrong’ are secondary to him.

Actual clips of Nixon, Reagan, bin Laden, Carter, and Obama are dropped into segments providing a quasi-documentary feel at times. Cheney’s heart issues, the political quandary resulting from his daughter coming out as gay, and the involvement of Americans for Tax Reform (ATR) and the Koch brothers all play a role here, as does the Unitary Executive Theory and the legal specifics that cause much debate. Also on display is some of the least complementary eyeglass fashion across 3 decades.

Even though his approach leans pretty far left, filmmaker McKay is to be applauded for a most entertaining look at how our government officials can manipulate policy and public statements, and may even stoop to focus groups in better understanding the views of the American people. Editor Hank Corwin (Oscar nominated for THE BIG SHORT) is a big part of maintaining the quick pace of the film, and the use of fishing as a metaphor somehow works.  “America” from WEST SIDE STORY is a fitting song to end the clever, funny and thought-provoking film and our look at the rare politician who amassed power while mostly avoiding the publicity that other politicians seek. Watch at your own risk – depending on your politics.

watch the trailer:

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

MARY POPPINS RETURNS (2018)

December 17, 2018

 Greetings again from the darkness. The 1964 classic Disney film MARY POPPINS is much beloved and has been shared across generations for more than 50 years. It won 5 Oscars on 13 nominations, and shifted Julie Andrews from a Broadway star to an international movie star, as she won the Oscar for Best Actress while becoming the ideal nanny for most every boy and girl. Rarely do reboots, remakes, or sequels to the classics make much of a dent with the movie-going public, but it’s likely director Rob Marshall’s (CHICAGO, INTO THE WOODS) film will be an exception. Marshall balances nostalgia with contemporary, and benefits from a marvelous successor to the Mary Poppins role … Emily Blunt.

The film opens in low-key fashion as we follow Jack (Lin-Manuel Miranda) through town as he performs his lamplighting duties singing the melancholic “Underneath the Lovely London Sky”. It’s actually a bit of a dry opening that may have some impatient kids wondering why their parents dragged them to see this. Soon after, we are at the familiar 17 Cherry Tree Lane – the Banks’ home – easily recognizable from the original film. We meet grown up siblings Michael (Ben Whishaw) and Jane (Emily Mortimer). Jane is a labor organizer following in her mom’s footsteps, and Michael is a struggling artist and widower raising 3 kids. He has taken a teller job at the Fidelity Fiduciary Bank where his dad (now deceased) worked, but mostly he’s an emotional wreck. In fact, the only way to save the family home from foreclosure is with proof of his father’s bank shares … something the evil new Bank President, William Weatherall Wilkins (Colin Firth), conspires to prevent.

It’s at this point that the kids’ popcorn should just about be gone, so it’s fortunate that our beloved nanny makes her timely appearance … literally floating (with practically perfect posture) into the park where Georgie (an adorable Joel Dawson) and lamplighter Jack are flying a very recognizable kite. Jack, having been an apprentice under Bert the Chimney Sweep, is quite familiar with the significance of Mary Poppins’ arrival. Back on Cherry Tree Lane, Michael and Jane are shocked to see their childhood nanny back in the house, and Michael’s two spunky twins Anabel (Pixie Davies) and John (Nathanael Saleh) aren’t sure what to make of this mysterious visitor.

Director Marshall wisely utilizes the template from the original film, so many of the subsequent sequences have a familiar and cozy feel to them. Mary Poppins’ “Off we go” kicks off a fantastical bathtub adventure and leads to the first of many smile-inducing, visually spectacular moments. A broken porcelain bowl guides us to a beautiful hand-drawn animation (from Walt Disney Studios) sequence with horse-drawn carriage, penguins, and more. Meryl Streep performs “Turning Turtle” in her topsy-turvy studio, and there is an extended (perhaps a bit too long) dance sequence featuring Jack and the other lamplighters singing “Trip a Little Light Fantastic”.

Julie Walters appears as the Banks’ housekeeper and David Warner is Admiral Boom, the Banks’ canon-firing neighbor; however it’s two cameos that will really hit home with the older viewers: Angela Landsbury (not in the original) is the balloon lady singing “Nowhere to Go but Up”, and the remarkable Dick Van Dyke (a huge part of the original) plays an elderly Mr. Dawes Jr from the bank – and even performs a dance routine atop a desk. All of the actors perform admirably, yet this is clearly Emily Blunt’s movie. She shines as the practically perfect nanny, whether debating with her umbrella, digging in her mystical baggage, filling heads with ‘stuff and nonsense’, teaching life lessons to those in need, or singing solo and with others. It’s a wonderful performance and she becomes Mary Poppins for a new generation.

Director Marshall co-wrote the story and screenplay with David Magee and John DeLuca, and they have created a worthy sequel (a quite high standard) from P.L. Travers’ original books that is delightful and a joy to watch. The group of original songs by Marc Shaiman and Scott Wittman serve the story fine, but the one downside to the film is that none of the new songs are as catchy or memorable as those of the Sherman Brothers (Richard and Robert) from 54 years ago. They won Oscars for Best Score and Song (“Chim Chim Che-ree”), and left us singing others such as “Spoon Full of Sugar”, “Let’s Go Fly a Kite” and of course, “Supercalifragilistic”. These new songs including “Can You Imagine That”, “The Place Where Lost Things Go”, “A Cover is not the Book”, “Nowhere to Go but Up” all contribute to the story and to the viewer’s enjoyment, but none leave us singing or humming as we depart the theatre.

This is film where those behind-the-scenes are crucial to its success. Oscar winning cinematographer Dion Beebe (MEMOIRS OF A GEISHA) and Editor Wyatt Smith both are at the top of their game, and Costume Designer Sandy Powell delivers stunners, not just for the singing nanny, but for all characters. The core of the story remains rediscovering the magic in life, and finding joy in each other – and this sequel also provides the adventures to match the original. It’s simultaneously familiar and fresh, which is key to a successful follow up to a beloved classic. Director Marshall has signed on to Disney’s live action THE LITTLE MERMAID, but it’s with MARY POPPINS RETURNS where he has delivered a film that is practically perfect in every way.

watch the trailer:

Leave a Comment » | Animation, Comedy, Drama, Fantasy, Musical | Tagged: , , , , , , , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

ANNA AND THE APOCALYPSE (2018)

December 7, 2018

 Greetings again from the darkness. It’s this time of year when the slew of ultra-heavy dramatic Oscar hopefuls fill the movie-watching schedule, so this zany little flick is a welcome diversion … despite, or perhaps due to, defying traditional movie genres. An accurate description would be ‘Zombie Apocalypse Christmas Musical Comedy’, though that’s likely to draw in fewer viewers than it frightens off.

Beginning like many teen flicks, we meet the teenagers who each believes they are the center of the universe, and during this opening act, we only get a single fake zombie tease (but it’s a good one). Anna (Ella Hunt) is a high school senior preparing to take a year and travel to Australia – against the wishes of her protective widower dad (Mark Benton). Anna constantly hangs out with her friend-zone buddy John (Malcolm Cumming), whether at school or at the bowling alley where they both work. Their friends are lovebirds Chris (Christopher Leveaux) and Lisa (Marli Siu), and Steph (Sarah Swire) the American-social activist- recently dumped lesbian who is an outsider to both her peers and the tyrannical school principal Savage (Paul Kaye).

Ms. Siu takes center stage at the school’s Christmas production and beautifully performs one of the more double-entendre laden Santa songs you’ve likely ever heard. The other musical highlight occurs the next morning as Anna and John skip off to school blissfully unaware of the carnage occurring all around them … a nice statement on how teenagers view the world. What follows are some gruesome and creative zombie kills, especially those featuring a snowman and the bowling alley. The jokes, pop songs and grizzly kills keep things zipping along as the teenagers try to save themselves and their loved ones, although when the school Principal veers towards maniacal psychopath, he becomes a bit of a distraction.

Ryan McHenry passed away in 2015, and his 2011 short film ZOMBIE MUSICAL has been adapted to feature length by director John McPhail and writer Alan McDonald. The songs are co-written by Tommy Reilly and Roddy Hart, and the result is a delightfully entertaining movie that will likely find a long shelf-life in the midnight slot for many holiday seasons to come. It likely would have benefited from another song or two, and remains an oddball mash-up of “Glee”, HIGH SCHOOL MUSICAL, SWEENEY TODD, and SHAUN OF THE DEAD. The film certainly deserves bonus points for creativity, and just keep in mind those footsteps on the roof might not be Santa. You best be prepared to sing and swing a candy cane, as there are no Hollywood endings.

watch the trailer:

Leave a Comment » | Comedy, Fantasy, Horror, Thriller | Tagged: , , , , , , , , , , , | Permalink
Posted by David Ferguson

SWIMMING WITH MEN (2018)

December 6, 2018

 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”.

watch the trailer:

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

SONG OF BACK AND NECK (2018)

December 4, 2018

 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.

watch the trailer:

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

THE FAVOURITE (2018)

November 29, 2018

 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.

watch the trailer:

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

GREEN BOOK (2018)

November 15, 2018

 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.

watch the trailer:

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

CAN YOU EVER FORGIVE ME? (2018)

November 1, 2018

 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.

watch the trailer:

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

Mid90s (2018)

October 25, 2018

 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.

watch the trailer (CAUTION: NSFW):

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

BIG KILL (2018)

October 18, 2018

 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.

watch the trailer:

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

« Previous Entries
Next Entries »