20th CENTURY WOMEN (2016)

January 12, 2017

20th-century Greetings again from the darkness. Writer/director Mike Mills has found a niche, and a form of therapy, by exploring and exposing his life in a most public manner … on the silver screen. Beginners (2010) brought us the story of his father’s (an Oscar winner for Christopher Plummer) late life pronouncement of homosexuality. This time, Mr. Mills turns his lens and his pen towards his mother, and he seems to understand her much better in retrospect than in the summer of 1979 when the film is set.

This can be viewed as the story of three women, masked as a coming-of-age story for a teenage boy. Annette Bening stars as Dorothea, a chain-smoking single mother in her mid-50’s who seems to have surrendered to her own sadness and loneliness, while simultaneously trying to make sense of a changing world. One of her tenants is Abbie (Greta Gerwig), a photographer and NYC punk scene drop-out, who is now battling cervical cancer. The third female is the seemingly always present Julie (Elle Fanning), a sexually promiscuous and borderline depressive 18 year old who values the platonic friendship she has with Dorothea’s 15 year old son Jamie (Lucas Jade Zuman).

Factor in another tenant in the form of laid-back handyman and former hippie William (Billy Crudup), and we have a makeshift family in a communal setting that seems almost normal for 1979 Santa Barbara. Dorothea enlists the other two women to show Jamie their lives – the intent being to influence his growth in ways an older mother can’t. Of course, Jamie is at the age where exploring life isn’t necessarily best served by tagging along on a trip to the gynecologist with Abbie or having no-touch sleepovers with Julie.

Ms. Bening finds her groove as the story progresses and we feel her struggling to connect to each of the characters. When William plays a Black Flag song, her reaction is priceless: “They know they’re not good, right?” She doesn’t mean it as a put down, but rather her attempt to understand why her son is drawn to this. An even more emotionally naked moment occurs when Jamie is reading a passage from “The Feminine Mystique” to his mother. It’s a passage that captures what he thinks of her, as well as what she thinks of herself … a mostly invisible woman finding it difficult to be a parent while also maintaining a self.

Mills is not one to be nostalgic or glorify the past. His brilliant writing includes lines like “Wondering if you are happy is a great short cut to being depressed.” The movie can be slow moving at times, but it’s the best I’ve seen in awhile at expressing what makes us tick. The film is what Running with Scissors should have been. Real people are sometimes interesting, sometimes boring, and sometimes annoying. Each of the characters here are all of the above (just like you and me).

watch the trailer:

 

 

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Posted by David Ferguson

HIDDEN FIGURES (2016)

December 21, 2016

hidden-figures Greetings again from the darkness. The space program has created many iconic images over the years: rhesus monkeys in space suits, the Mercury 7 Astronauts press conference, Neil Armstrong and Buzz Aldrin erecting a flag on the moon, and numerous Space Shuttle missions – some successful, others quite tragic. We’ve even been privy to cameras inside the space station and the NASA control center. Despite all of that, director Theodore Melfi’s (St Vincent, 2014) latest film uncovers a part of history of which most of us knew nothing.

Adapted from the book by Margot Lee Shetterly, the film stuns us with the story of the “Colored Computers” … the African-American female mathematicians who manually checked and cross-checked the endless calculations, formulas and theories required to launch a rocket into space and bring it (and the astronaut) back home. It’s a crowd-pleasing history lesson and an overdue tribute to, and celebration of, three intelligent women of color who played crucial roles in the success of the American space program

We first meet a young Katherine Johnson as a child math prodigy whose school can’t provide her the challenge she needs. Next we see her as a bespectacled adult (Taraji P Henson) on the side of the road beside a broken down car with her friends and co-workers Dorothy Vaughan (Octavia Spencer) and Mary Jackson (musician Janelle Monae). They are on their way to work at Langley in the computing department. Dorothy is the ad hoc supervisor of the group and is in a non-stop battle for the title and increased pay that comes with the job. Mary is the razor-tongued one who is striving to overcome all of the obstacles on her way to becoming the first female African American Engineer at NASA. These are good friends and smart women caught up in the racism and sexism of the times and of the organization for which they work.

Soon, Katherine is promoted to the Space Task Group run by Al Harrison (Kevin Costner). This is a group of true rocket scientists, and Katherine is charged with checking and confirming their work … a thankless job for anyone, but especially for a black woman in the early 1960’s. Her supervisor (Jim Parsons) refuses to give her the necessary security clearance – huge portions of the work are redacted, making it increasingly difficult for Katherine to run the numbers. This is a seemingly accurate and grounded portrayal of racism in the workplace. At the time, racism and sexism were mostly woven into the fabric of society … it’s “just the way things are”. It’s almost a passive-aggressive environment with separate coffee pots and restrooms clear across campus.

There are numerous sub-plots – probably too many. We even get an underdeveloped romance between Katherine and a soldier named Jim Johnson (Mahershala Ali, so great in this year’s Moonlight). We follow Mary as she goes to court in pursuit of the right to take the engineering courses required for her certification. We see Dorothy with her kids, as well as her ongoing head-butting with her condescending supervisor (Kristen Dunst), who claims to have nothing against ‘you people’. Dorothy’s response is clever, crowd-pleasing and a reminder that this is an air-brushed version of reality … but also a view that we rarely see. As the Mercury Project progresses, we note how Harrison (Costner) is so focused on getting the job done, that he is oblivious to the extra challenges faced by Katherine – that is until her emotions erupt in a scene that will have Henson under Oscar consideration.

The slow implementation of the first IBM mainframe is important not just to NASA, but also to Dorothy and her team. They see the future and immediately start self-training on Fortran so that they are positioned for the new world, rather than being left behind. Eye-opening sequences like this are contrasted with slick mainstream aspects like no slide-rules (not very camera friendly, I guess), stylish and expensive clothing for the underpaid women, and a steady parade of sparkling classic cars in vibrant colors – no mud or dents in sight. Sure, these are minor qualms, but it’s these types of details that distract from the important stories and messages.

The film does a nice job of capturing the national pride inspired by the Mercury project, and astronauts such as John Glenn (played here by Glen Powell, Everybody Wants Some!!). It even deploys some actual clips and captures the pressure brought on by the race to space versus the Russians. There is an interesting blend of Hans Zimmer’s score and the music of Pharrell Williams that gives the film a somewhat contemporary feel despite being firmly planted in the 60’s. This mostly unknown story of these women is clearly about heroes fighting the daily battles while maintaining exemplary self-control. It offers a positive, upbeat and inspirational message … believe in yourself, and don’t pre-judge others. Don’t miss the photos over the closing credits, and don’t hesitate to take the family to the theatre over the holidays.

watch the trailer:

 

 

 

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Posted by David Ferguson

LA LA LAND (2016)

December 10, 2016

la-la-land Greetings again from the darkness. Is this a nostalgic throwback to the movie musicals of Stanley Donen and Fred Astaire, or is it a contemporary film designed to revitalize the movie musical genre in an era dominated by superheroes and sci-fi? However you might choose to label writer/director Damien Chazelle’s follow-up to Whiplash (2014), it’s clearly one of the best and most entertaining movies of the year.

While the opening credits are still rolling (“Presented in CinemaScope” being the first gag), the film kicks off with its only large scale (think Busby Berkeley on a L.A. freeway rather than in a swimming pool) musical production, “Another Day of Sun”. It’s also the first of 3 less-than-warm-and-fuzzy “meetings” between the two lead characters before they finally click.

Emma Stone and Ryan Gosling light up the screen with the same incredible chemistry they displayed in Crazy, Stupid, Love (2011). Mia (Ms. Stone) is a struggling actress-wannabe working behind the counter at the Warner Brothers studio coffee shop. Sebastian (Mr. Gosling) is a pianist committed to the traditions of jazz music … even as he toils in a club playing mainstream tunes for folks who aren’t even listening.

As their relationship develops, we are treated to a tap dance number in the Mulholland Drive moonlight. Soon, Sebastian (either a brooding Gene Kelly or a dancing James Dean) is forced to make a choice between finding a way to open his own jazz club or compromising his integrity by making lots of money joining a “hot” band (led by John Legend), while Mia is focusing on auditions and her writing (which leads to a disastrous one-woman show).

Director Chazelle and cinematographer Linus Sandgren create a look in line with Singin’ in the Rain, but a tone more suited to A Star is Born. There is no shortage of romance and music, but it’s equally balanced with melancholy, foolish dreams, and shattered hopes. While it’s an homage to old Hollywood, Los Angeles and movie musicals, it seems to gracefully swing between past and present – and reality and fantasy.

Mia has a bedroom wall mural of Ingrid Bergman, while Sebastian treasures his piano stool that once belonged to Hoagy Carmichael … two more examples of past and present intertwined. Ms. Stone and Mr. Gosling possess solid (not exceptional) singing voices, which aids in having the songs tell their story. Ms. Stone is quite a talent, and especially stands out in her audition scenes … we feel her pouring her heart out to casting agents who may or may not even be paying attention. It’s remarkable work from her.

Supporting work is provided by Rosemarie DeWitt (as Sebastian’s sister), JK Simmons (as a club owner and Sebastian’s boss), Finn Wittrock (as Mia’s boyfriend) and Damon Gupton. Also in supporting roles would be the Griffith Observatory (after a Rebel Without a Cause viewing), the Los Angeles scene, and the Warner Brothers lot.

The “What Could Have Been” ending sequence is top notch filmmaking in all aspects, and perfectly caps a movie that drips with nostalgia … while also being touching, funny, and downright fun. Watching this film is much like going through the ups and downs of a relationship, and rather than a fairy tale, it’s a painful jab at “the one who got away”. It deserves to be seen on the big screen – enjoy the full palette of colors and the full spectrum of emotions (love and heartbreak, frustration, anger, and utter joy). This is one to tell your friends about … don’t wait for them to tell you.

watch the trailer:

 

 

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Posted by David Ferguson

RULES DON’T APPLY (2016)

November 23, 2016

rules-dont-apply Greetings again from the darkness. Few films can match this one for pedigree. Actor/Director/Producer/Writer Warren Beatty is a 14-time Oscar nominee (won for Best Director, Reds, 1982) and Hollywood legend. Screenwriter Bo Goldman is a 3 time Oscar nominee, and has won twice (One Flew Over the Cuckoo’s Nest, Melvin and Howard). The cast includes 4-time Oscar nominee Ed Harris, 4-time Oscar nominee Annette Bening (Beatty’s wife), and other Oscar nominees: Alec Baldwin, Amy Madigan, Candice Bergen, and Steve Coogan. The all-star production also features Cinematographer Caleb Deschanel (a 5 time Oscar nominee), Co-Editors Leslie Jones and Billy Weber (both Oscar nominees), and two-time Oscar winner, Costume Designer Albert Wolsky. It’s Mr. Beatty’s first time directing since Bulworth (1998) and first time acting since Town & Country (2011). Being such a filmmaking icon, he attracts some of the most talented folks in the industry whenever he decides to work.

Of course, this isn’t a career retrospective and there are no brownie points won for surrounding yourself with the cinematically decorated elite. It still comes down to the movie, and unfortunately, this one is never as exciting, entertaining or funny as it seems to think it is.

Rumors of Warren Beatty making a Howard Hughes movie have bounced around for decades, and it appears this is as close as we’ll get. The director himself plays the billionaire, and the story mostly revolves around the time the enigmatic man (Hughes, not Beatty) was most involved with Hollywood and the movie business. Much of the dialogue and the majority of the scenes involving Hughes emphasize (and enhance?) the man’s idiosyncrasies that bordered on mental instability. Beatty mostly plays him as a mumbling and shrugging goofball who dines on TV dinners and is frightened of children.

The best parts of the movie don’t involve Hughes, and instead feature the youngsters trying to make their way in his convoluted organization. Lily Collins (Phil’s daughter) plays Marla Mabrey, a wanna-be starlet committed to her staunch religious upbringing – said beliefs incessantly reinforced by her distrusting mother (Annette Bening). Her driver is Frank Forbes played by Alden Ehrenreich (Hail, Caesar!), and his own agenda involves convincing Howard Hughes to invest in a real estate development project on Mulholland Drive. As expected, sparks fly between the young actress and the equally conservative young visionary, and we find ourselves engaged with them – in good times and bad.

The two youngsters have some nice screen chemistry that multiple times is brought to a screeching halt by the inclusion of yet another cockamamie Howard Hughes scene – most of which feel more like Beatty’s desire to be on screen rather than an extension of the story. These intrusions prevent any real flow to the film and actually bog down the most interesting aspects of the story. In fact, the disruptions cause us to spend more time “spotting the celeb” than caring about the characters. The list of familiar faces that pop up include: Ed Harris, Amy Madigan, Taissa Farmiga, Alec Baldwin, Matthew Broderick, Chase Crawford, Martin Sheen (as Noah Dietrich), Oliver Platt, Steve Coogan, Dabney Coleman, Paul Sorvino, and even Candice Bergen (as Hughes’ secretary).

It’s easy to see the nostalgia and fond memories that Mr. Beatty has of this late 50’s – early 60’s era in Hollywood. It was all about glamour and the magic of what’s on screen. The real Howard Hughes story is at least as interesting, if not more so, than the history of Hollywood, but the cartoonish aspects of the billionaire here don’t hold up to such previous works as The Aviator, or even Melvin and Howard.

These days, the Howard Hughes Hollywood legacy is barely a blip – a few recall Jane Russell’s close-up or the aerial battles of Hell’s Angels, while fewer know the RKO Studios story. Warren Beatty’s movie legacy is much more than a blip; however his latest adds little to the legend.

watch the trailer:

 

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Posted by David Ferguson

KEEPING UP WITH THE JONESES (2016)

October 20, 2016

keeping-up-with-the-joneses Greetings again from the darkness. Dozens of movies through the years make up the Spy Action-Comedy segment. Most of these lean heavily on either action (Mr. and Mrs. Smith, Red, Knight and Day) or comedy (Austin Powers, Get Smart, Date Night). The latest entry from director Greg Mottola and writer Michael LeSieur offers a more balanced approach while being somewhat grounded in familiar suburbia. Perfect casting certainly helps.

Comedies are the toughest genre to review because the only thing that matters … does it cause you to laugh? … depends on the sense of humor of each viewer and even their frame of mind while watching. So what I can report is that the full theatre at my screening was filled with enthusiastic laughter multiple times, along with a pretty steady stream of chuckles and giggling. This will undoubtedly vary from the accounts of uppity film critics who will discount the basic plot and obvious laughs (which is the whole point).

A James Bond-type opening credit sequence sets the tone as we abruptly shift to watching Jeff and Karen Gaffney (Zach Galifianakis, Isla Fisher) sending off their two sons to summer camp before returning home to their idealistic cul-de-sac suburban home. Things pick up when the new neighbors, Tim and Natalie Jones, arrive … a seemingly perfect couple played by Jon Hamm and Gal Gadot. They are the type of couple who are beautiful to look at, stylishly dressed, and even show up with a blown-glass sculpture as a gift for their new neighbors.

Of course, this perfect couple is really married spies seeking information from the military weapons contractor where Jeff works as a Human Resources associate. It’s Karen who senses something is off about the perfect couple, which leads to her stalking Natalie all the way to a dressing room where she is comically intimidated by Wonder Woman in black lingerie. On a side note, Ms. Fisher does have a later sequence where she proves to be anything but a homely housewife, despite how that dressing room scene is presented.

The men head off for some male bonding – at a highly unusual specialty restaurant, leading to one of the more manic sequences in the movie. The four leads are all excellent, but it’s Gal Gadot who is the real surprise … and her scenes with Ms. Fisher are the film’s best. Both are allowed to shine, while the men are a bit more one dimensional. Galifianakis is the all-trusting good guy just happy to have some excitement in his life, while Hamm is the super cool spy (who wishes he wasn’t). Both men seem to enjoy the chance to make friends, while the women are a bit more focused on tasks at hand.

Director Mottola is known for his films Adventureland and Superbad, and writer LeSieur is best known for Me, You and Dupree. The impressive thing about this latest is that the comedy mostly derives from character and situational interactions, and the expected steady stream of punchlines never materializes. There is even some insight into marriages that have become a bit too predictable, and the challenges of making new friends when all available energy is devoted to parenting and making ends meet.

In addition to the four leads, there are some funny moments for Maribeth Monroe, Matt Walsh and Kevin Dunn. The brilliant Patton Oswalt is cast as the self-nicknamed villain, and is responsible for one of the film’s biggest laughs.

Of course, this is not subtle or high-brow humor, and the story line is predictable throughout. The laughs stem from the contrast of a subdued, comfy suburban life versus the sophisticated, over-accomplished jet-setting couple … laughs clearly enhanced by the talented leads. So while this seems like the kind of movie I would usually ignore, perhaps it arrives at a time when laughing is simply preferable to the daily grind of an embarrassing and humiliating Presidential race. So go ahead and give laughter a chance … it works even better than a stress ball.

watch the trailer:

 

 

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Posted by David Ferguson

BLUE JAY (2016)

October 8, 2016

blue-jay Greetings again from the darkness. Mark Duplass is the master of awkward. As a writer he excels in awkward encounters, awkward conversations, awkward situations … and awkward people. He can even create awkward out minimalism – two people in a simple and normal environment.

A bearded Mr. Duplass stars as Jim, a seemingly normal guy who has returned to his small hometown to pack up his mother’s house after her passing. While at the local market, he bumps into his old high school sweetheart Amanda, played by Sarah Paulson, who just happens to be in town visiting her expectant sister. Their awkward grocery aisle reunion leads to a very unusual … and yes, awkward … evening.

First time director Alexandre Lehmann uses his extensive experience as a cinematographer, and a black & white motif, to create a beautifully filmed story that is both simple and layered. Only one other actor appears in the movie … one scene with the great Clu Galager (“The Virginian”, The Last Picture Show) as a local merchant who provides a link to the past for Amanda and Jim. The bulk of the time is spent in Jim’s mother’s house – a literal time capsule that allows for reminiscing for the two former lovers.

Amongst the old familiar clothes, photos, letters, books and audio tapes, Jim and Amanda somehow progress to a bizarre form of role playing/play acting as if they had married young and were now celebrating their 20th wedding anniversary. You guessed it … awkward. Dinner, dancing, acting silly, jelly beans, Annie Lennox and cutting loose leads them to an awkward bedroom encounter. This moment finally produces an explosion of emotion which uncovers the long-buried source of their break-up … shutting down their fantasy game of recapturing the past.

It would be pretty easy to compare the film to Richard Linklater’s Before Sunrise (1995) or Before Sunset (2004), and though it has more in common with the latter, this one comes across more raw and melancholy than those more celebrated films. We never once doubt this situation could play out, but the only word to describe two former lovers exploring “what could have been” is … awkward. It’s a captivating movie to watch and yet another feather in the cap of Duplass Productions.

watch the trailer:

 

 

 

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Posted by David Ferguson

THE DRESSMAKER (2016, Australia)

September 29, 2016

dressmaker Greetings again from the darkness. Sometimes we just have to give thanks (and credit) to a filmmaker for boldly stepping out of the Hollywood box and delivering a cinematic experience that is creative, interesting and downright unusual. Such is the case with director Jocelyn Moorhouse and her first film since A Thousand Acres (1997).

We know immediately that we are in for something a bit different. A1950’s era bus rolls down the dusty road and stops in a desolate little Aussie town with only a handful of store fronts. Western-style music accompanies Kate Winslet as she steps off the bus brandishing a Singer sewing machine rather than a Winchester or Colt. She lights up a cigarette, squints out from under her hat, and utters one of the more memorable first lines of any movie. We are hooked. (You had me at “bastards”)

What follows is based on Rosalie Ham’s best-selling novel with a screenplay from the director and PJ Hogan (Muriel’s Wedding, 1997), and features a most remarkable blend of slapstick comedy, dark humor, tragedy, romance, mystery, and revenge. At times the film has a Coen Brothers or Wes Anderson feel, while at various other moments it recalls the Keystone Cops, Chocolat, a spaghetti western and a spoof of … well it’s difficult to say whether it’s a spoof or homage to numerous genres.

Ms. Winslet is in full lead mode as Tilly … the local girl who was accused of murder at age ten and banished from her mother and hometown. After 25 years, Tilly returns to Dungatar in an attempt to reconnect with her mom, gain a bit of revenge on the petty townfolks, and remember that fateful day that has been blocked from her memory. The tool of her trade is a sewing machine (and at times a golf club) and Tilly has the magic touch to transform the local ladies into more attractive and confident versions of themselves. She wields her Singer with every bit of danger as Blondie (Clint Eastwood) did with his revolver in The Good, The Bad and The Ugly.

Judy Davis (A Passage to India) is fantastic (worthy of an Oscar nom) as Tilly’s mother “Mad” Molly. In a role that would have been pure caricature in different hands (Maggie Smith), Ms. Davis provides a depth and humanity to a role that is truly the heart of the film. Also excellent is Hugo Weaving as the local Police Sergeant who has his own secret quirks and guilty conscience, and is one of the first to appreciate the talents Tilly brings to the small town. Liam Hemsworth spends the movie grinning and gazing in the role of arm candy Teddy – one easily recognizable as the female role in most movies (those not directed by a woman). The deep cast always features Sarah Snook as Gertrude and Kerry Fox as the villainous school marm Beulah (replete with devilish hairdo).

While the story itself is relatively predictable, it’s the manner in which scenes are staged that makes this such a pleasure. The offbeat combination of desolate Aussie town and near cartoon characters are set against the colorful and textured world of highly fashionable clothes, wicked twists, twisted humor, reconciliation and tragedy – many scenes combining more than a couple of these.

Marion Boyce and Margot Wilson deserve special attention for costume design, as the costumes themselves play as characters to contrast the local atmosphere. It’s startling to realize that such a coherent story utilizes such topics as domestic violence, spousal rape, misogyny, cross-dressing, murder, perjury, blackmail, Billie Holliday, South Pacific, cannabis brownies, and Sunset Boulevard in such creative ways. Though many critics will not agree, Ms. Moorhouse has delivered an entertaining and accessible movie despite its complexity with multiple subplots and various undertones. Let’s hope she doesn’t wait 20 years for her next film project.

watch the trailer:

 

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Posted by David Ferguson

THE HOLLARS (2016)

September 8, 2016

the-hollars Greetings again from the darkness. John Krasinski’s second film as a director mines the all too familiar territory of dysfunctional family life … only the script from Jim Strouse takes it a step further by burdening each character with their own special form of advanced personal dysfunction. The saving grace here is the always dependable Margo Martindale who anchors the gaggle of struggling men in her life.

Richard Jenkins plays Margo’s husband – a husband quick to cry and slow to recognize most any situation. Sharlto Copley plays their oldest son who is living in their basement and going through life rudderless ever since his divorce. Lastly there is John Krasinski who relocated from their Midwest hometown to NYC pursuing his dream of making it as a graphic novelist.

One morning Margo collapses and is diagnosed with an advanced brain tumor. Krasinski rushes to her bedside to discover that Dad has recently fired the oldest son from the family business that is rapidly approaching bankruptcy. Additionally, big brother is super jealous of his ex-wife’s (Ashley Dyke) new relationship (Josh Groban) and takes to stalking and bad-mouthing. Of course, Krasinski is toting his own baggage. He is whiny and depressed about his job, and has cold feet towards marrying his 8 months pregnant girlfriend (Anna Kendrick).

The film is loaded with familiar faces and talented actors. Charlie Day shows up as Margo’s nurse and Krasinski’s insecure former high school nemesis who is now married to Mary Elizabeth Winstead … oh yes, she still has the hots for her high school sweetheart (Krasinski). Randall Park is Margot’s doctor, and Mary Kay Place has a (very) brief role as Jenkins’ sister and employee.

Unfortunately the familiarity extends beyond the faces and into the clichéd characters and story lines. Most of the conversations are predictable, though there are plenty of laughs throughout. It may be the only film to feature punchlines utilizing Jenny Craig, Rod Steiger and Indigo Girls. It’s also interesting to see how all three of the lead male characters are wandering aimlessly when the women aren’t guiding them. This is a theme that could have been better explored and helped set the film apart from so many similar type films.

Despite the negatives, any movie that offers up a few laughs to go along with Margo Martindale at its core, does have some value.

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Posted by David Ferguson

IN ORDER OF DISAPPEARANCE (2016)

August 25, 2016

In order of disappearance Greetings again from the darkness. “The Count” versus “Papa” should not be mistaken for a new cartoon featuring Sesame Street battling The Smurfs. This Norwegian film from director Hans Petter Moland and writer Kim Fupz Aakeson is oddly entertaining, often funny and plenty violent.

Stellan Skarsgard stars as Nils Dickman, a quiet, keep-to-himself snow plow operator who is being recognized as his town’s Citizen of the Year. We see Nils clearing what appears to be the same roads over and over with a snow blower that looks like some type of NASA moon vehicle … the mundane life having a rhythm that seems to deliver a kind of peace. Nils’ untroubled world is rocked when his son is murdered under suspicious circumstances. It kicks off his mission for revenge … and in the process, this snow plow operator accidently initiates a mob war between the Norwegians and the Serbs. This might have you wondering where the humor comes in. It could be compared to a Charles Bronson movie – if Bronson was an otherwise meek fellow who was laser-focused on revenge for his son’s murder (actually, that sounds like the synopsis of quite a few Bronson movies).

The film is divided into chapters named after the dead bodies … and it’s a rapidly changing scoreboard. I counted 14 chapters and 24 victims, but I’ll admit it’s quite possible I missed one or two. The always interesting Bruno Ganz plays Papa, the cold-blooded leader of the Serbian mob who rarely needs to speak. Pal Sverre Hagen plays “The Count” … the first vegan movie gangster I can recall, and certainly a memorable character who at times seems like a poser, while at other times proves he is ruthless.

The three main characters all have sons who play a major role in both the story and their motivation, and there is a certain symmetry in the ending as two ride off into the proverbial sunset (though the sun evidently rarely shines in this town). And even if you didn’t enjoy the subtle humor (both situational and dialogue-driven), you are likely to find a least a chuckle in one of the main character’s final words for his ex-wife.

Coen Brothers influence permeates the frosty air – maybe I didn’t mention that it’s snowy and beyond cold in every scene. The snow is a character here and the real characters fall into one extreme or the other … subdued on the surface or eccentric and desperate for attention. These conflicts bring humor to situations that would otherwise offer nothing but gloom. It’s an unconventional and stylish film and one that will probably find a loyal and appreciative audience.

watch the trailer:

 

 

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Posted by David Ferguson

THE INTERVENTION (2016)

August 25, 2016

intervention Greetings again from the darkness. Clea DuVall: Actress/Writer/Director/Producer. No one who has followed her outstanding career (especially as a standout in many independent films) can be surprised that she is spreading her creative wings into all aspects of filmmaking. Her directorial debut can best be described as a contemporary version of Lawrence Kasdan’s The Big Chill (1983) for today’s thirty-somethings.

Casting is key for an ensemble project, and it’s especially difficult for a serio-comedy exploring the insecurities and inherent unhappiness that corresponds to the closest relationships. The premise here is that four couples meet at a beautiful and isolated lake house just outside of Savannah. The motivation for this meet up of old friends is a “marriage intervention” for one of the couples … something that must have seemed better in theory than it plays out in reality.

The couple whose marriage is in the target zone is played by Cobie Smulders (The Avengers, “How I Met Your Mother”) as exhausted mother of three Ruby, and Vincent Piazza (“Boardwalk Empire”) as the long-ago-gave-up-trying Peter. The others are played by Melanie Lynskey (“Two and a Half Men”) as Annie, who has continually postponed her wedding to super nice guy fiancé Matt played by Jason Ritter; Natasha Lyonne (“Orange is the New Black”) as Sarah, long-time partner to Ruby’s sister Jessie (Clea DuVall); and Ben Schwartz (“House of Lies”) as Jack, who brings his free-spirited, much younger girlfriend Lola (Alia Shawkat, State of Grace).

We quickly witness the bitterness and lack of caring that has poisoned the marriage of Ruby and Peter, and of course, it doesn’t take long to spot all the cracks in the relationships and personalities of the others. Annie is a control-freak who appears to be a full blown alcoholic, while Matt is such a nice guy, that he refuses to stand up for himself and have some pride. Sarah and Jessie avoid any serious discussion regarding why they aren’t living together yet, while Jessie’s weakness for younger girls plays a role – as does Sarah’s secret. Jack is obviously avoiding dealing with some personal issue (which we later learn) as he plays kissie-face with the no-strings-attached Lola (not Lolita).

The script tries to tackle an enormous number of issues, sub-plots and characters, and while we pretty easily get a feel for each, we never understand how these people ever agreed that a group attack was the best strategy. No amount of charades, barbeque or kickball can hide the messes that define each of these folks … whether married or not.

The actors have tremendous comedy timing and handle these moments much better than the ultra-dramatic moments. Cobie Smulders and Ben Schwartz are real standouts here, which is quite a compliment given the tremendous on screen talents on display. It’s a group that can gracefully pull off a Subaru joke while also playing cut-throat charades and dodging thrown peaches.

Ms. DuVall will undoubtedly go on to make better films than this one, but as a first project it offers some terrific moments. Sara Quinn (of Tegan and Sara) scores the film, and though some excellent tunes are included, the music was at times disruptive to the flow of the story. The film will probably hit home with a great many who fall into the thirty-something age group, though older viewers will likely prefer to re-visit The Big Chill from more than 30 years ago.

watch the trailer:

 

 

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Posted by David Ferguson

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