WELCOME TO ME (2015)

May 8, 2015

welcome to me Greetings again from the darkness. There is no shortage of films that feature some type of mental illness or disorder. Folks that don’t “fit in” make for characters that create unusual situations and generate cinema’s biggest friend – conflict.  Cast a talented performer who thrives in “off-center” roles, and the potential exists for some actual insight.

Kristen Wiig is obviously attracted to unusual characters, as well as stories that wobble between comedy and drama. Here she plays Alice Klieg, a woman diagnosed with Borderline Personality Disorder. Alice memorizes Oprah shows, spends hours watching infomercials, and attends state-mandated therapy with her psychologist (Tim Robbins). She also has many inappropriate social tendencies and is a consistent player in the California Lottery – a ritual that pays off nicely when she wins $86 million.

Once she collects her winnings, Alice decides to drop her meds cold and move herself into the spotlight. She relocates from her dank apartment into a suite at a local Indian Reservation Casino, and then buys airtime from a local infomercial studio run by brothers (Wes Bentley, James Marsden) in order to star in her own show, “Welcome to Me”.  With the help of a swan sled as a prop, Alice moves forward with a two hour TV block that is centered on her own thoughts and re-enactments of the most traumatic moments of her life. It’s about her personal pain, but also painful for the show’s producer played by Joan Cusack.

It’s difficult to tell what screenwriter Eliot Laurence and director Shira Piven (brother to actor Jeremy, and wife to director Adam McKay) are trying to accomplish here. Poking fun at mental illness is a delicate undertaking, but perhaps they meant this as more commentary on a society that is so quick to latch onto the troubles of others … whether as news or comedy. It could also be a statement on the narcissism that runs rampant these days, as Facebook is filled with selfies and photos of meals.

It could be argued that Alice’s TV show could be more accurately titled “TMI”, but it’s unfortunate there just doesn’t seem to be more substance here. Sure, there are some highly awkward and uncomfortable moments – some quite funny, but the movie really plays more like an extended comedy sketch, and whatever works seems due to the stellar cast: Wiig, Marsden, Bentley, Cusack, Robbins, Jennifer Jason Leigh, Thomas Mann, and the underutilized Linda Cardellini. Just like “Perfect Polly” in the opening infomercial, what’s real and what’s real enough are in the eyes of the beholder, and perhaps this one could have used one more prepared statement.

watch the trailer:

 

 

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Posted by David Ferguson

DIFF 2015 – Day 10

April 24, 2015

DALLAS INTERNATIONAL FILM FESTIVAL

Day 10 – Sunday April 19

The festival comes to an end on a high note, and once again, I recommend DIFF for any movie lover who wants to overdose on independent films and documentaries without fighting the crowds of Sundance, Toronto, Cannes, etc.  It’s a very well run festival and, with 160 films on the schedule., likely holds multiple films for you – regardless of your movie tastes.  My final three movies of this year’s festival:

LOVE & MERCY (2015)

love and mercy Greetings again from the darkness. Beach Boys fans may struggle a bit with this one since the light-hearted, airy feel to the “Fun, Fun, Fun” music of the band is mostly absent. Instead, director Bill Pohlad pulls back the curtain on the emotional and mental struggles of visionary songwriter Brian Wilson … the band’s creative force.

In an unusual artistic approach, Paul Dano plays Brian from the 1960’s period that resulted in the revolutionary Pet Sounds album and the ongoing battle with his domineering father; while John Cusack plays Brian from the late 1980’s – his most creatively bankrupt period and the subsequent debilitating influence of quackster psychologist Dr. Eugene Landy (Paul Giamatti).

The two periods are blended together as we (and Brian) bounce back and forth between the struggle of a budding musical genius working to release the sounds in his head, and a middle aged man so heavily medicated that speaking, eating and even getting out of bed are such overwhelming obstacles that music rarely registers. It’s during the latter period that Brian is truly at the mercy of Dr. Eugene Landy. Giamatti sports a floppy wig and proceeds to rage at Brian while trying to charm Melinda (Elizabeth Banks), Brian’s new romantic interest. Knowing this disgusting period was part of Brian’s life only adds to the anger and frustration we feel … not just as fans, but as human beings.

What sets this biopic apart is actually the performance of Dano and the peek inside the process of Brian’s genius. Watching Brian work the musicians and mold the music on the fly is breath-taking, even though we see the challenges of his early mental issues.  It’s a joy to see a tribute to the studio session players known as “The Wrecking Crew” … themselves the subject of a recent stellar documentary. It’s during this period that the Wilson brothers’ father (played by Bill Camp) constantly derides Brian and his “new” music.  There is also some insight into the Brian vs Mike Love battles – Brian exploring his creative music, while Mike just wants to keep cashing in with their expected “fun” style.

Some may find the two-headed approach to be distracting, but it drives home the point of what a different man he was in comparing the mid-1960’s to the late 1980’s. Mostly, I found the 1960’s portion to be an insight into what we hear from so many geniuses, regardless of their specialty. Brian says it’s like “Someone is inside me. Not me.” His struggles are non-relatable to others – even his brothers, and especially his dad. What is mostly a look at the darkness behind the “sunny” music, does come with real life redemption courtesy of Melinda’s strength … and witnessed in the video shown over the closing credits.

MANGLEHORN (2015)

manglehorn Greetings again from the darkness. For those of us who grew up with 1970’s cinema, it’s been painful to watch Al Pacino’s career over the last two decades … with only a couple of exceptions. We have longed for the actor who became Michael Corleone, and cringed with each outing that seemed to parody his Oscar winning performance in A Scent of a Woman (1983). Along comes the latest from director David Gordon Green and with it a reappearance of that actor so worshipped by John Travolta’s character in Saturday Night Fever.

A.J. Manglehorn is an elderly locksmith who lives each day under his self-designed cloud of despair. His droopy eyes, droopy shoulders and droopy social skills are eclipsed only by his love for Fanny the cat, and his daily letters to Clara – the long lost love of his life. The only other signs of life in Mr. Manglehorn are displayed when he is telling a customer that it’s time to wash their car, when he is hanging out with his granddaughter, or when he is exchanging Friday flirtations with bank teller Dawn (a sparkling Holly Hunter).

Director David Gordon Green is best known for comedies such as Pineapple Express (2008), The Sitter (2011), and TV’s “Eastbound & Down”, and while this one (filmed in Austin, Texas) has some awkward and offbeat comedic moments, it would have to be categorized as a drama. Symbolism is everywhere as Manglehorn keeps his emotions “locked” away from his snooty yuppie son (Chris Messina) and retreats into his imaginary relationship with Clara, rather than embracing Dawn’s brave come-on.

There are a couple of extraordinary scenes … Pacino and Messina talking around, rather than about, their relationship and the type of men they are; and the excruciatingly awkward and heart-breaking first date between Pacino and Hunter. The forlorn Manglehorn remains behind the locked door and allows the shadow of his dream girl to cast a pall, despite having a real life dream girl sitting across the table.

Pacino recaptures his mastery of the close-up. Such emotion from so little apparent movement is the work of a once great master who proves he still has it. Some may be put off by the lack of big action, but these are people living life and trying to make the best of it. There is a line from the movie, “When you choose this life, there is no one”. It’s a line that tells us so much about Manglehorn’s daily approach. Whether he finds the right key matters to us for one reason … Pacino makes us care.

SLOW WEST (2015)

slow west Greetings again from the darkness. Every now and then a movie catches us off guard as the tone shifts during the story progression. The first feature film from writer/director John Maclean is an example of this, and even more impressive in the manner that it delivers contradicting and overlapping tones through much of its run time. Balancing life and death tension with laugh out loud comedic elements requires a deft touch, and Maclean proves his mettle.

Kodi Smit-McPhee (The Road, Let Me In) stars as Jay Cavendish a young Irish man traveling westward across the old west Colorado frontier to find his true love Rose (Caren Pistorius). Jay’s babyface, naïve approach and trusting nature make his survival dubious at best … at least until he hires a grizzled gunslinger named Silas (Michael Fassbender) to act as his guide and protector.  There is vital information about Rose known to all but Jay, which leads us to not be so trusting of Silas’ motives in sticking with the young man.

The trail provides the expected hardships and a reluctant bond between the two opposites. Some of the tension is created by crossing paths with a couple of bounty hunters … one a long range dead-eye who sports a priest collar, and the other a nasty sort played by the always dangerous Ben Mendelsohn who leads the gang Silas once rode with.

Jay’s mission to find Rose is quite a romantic quest, but the effective use of flashbacks and dreams tells us more of the story, and in particular, why Rose and her dad (Rory McCann) are on the run. So as this tension builds, the startling and abrupt use of off-the-wall humor takes us viewers out of our comfort zone and into the unusual place of utter surprise at the back and forth between violence, romantic notions and laughter.

Fassbender and Smit-McPhee are both excellent in their roles, and relative newcomer Pistorius oozes with potential. Jed Kurzel’s (The Babadook) music effectively adds to both the drama and comedy, and the script is smart and funny – a rare combination these days. It’s likely that viewers will feel guilty for some of the laughs, but that just adds to the ingenuity of Mr. Maclean. Even the body count tally forces one additional guilty laugh from us before leaving the theatre. Very well done.

 

 

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Posted by David Ferguson

CAS & DYLAN (2015)

April 21, 2015

Cas Dylan Greetings again from the darkness. Jason Priestley is well known for his acting career, and his first feature film as a director combines two of the more familiar movie paths – the odd couple and the road trip. Writer Jessie Gabe jolts the screenplay with enough comedy and poignancy that we overlook the air of familiarity and instead concentrate on the mismatched titular characters. Ms. Gabe also makes a memorable onscreen appearance as a snippy receptionist.

Richard Dreyfuss plays Dr. Cas Pepper … yep, he is Dr. Pepper (I suspect that’s why he goes by Cas). Thanks to the narration and early scenes, we quickly learn Cas is a widower, a 30 year doctor, and recently discovered to be terminally ill. Cas has perfectly worked out a plan to “head west” and go out on his own terms … if only he wasn’t experiencing writer’s block on his suicide note.

Worlds collide as Cas agrees to give Dylan Morgan (Tatiana Maslany, “Orphan Black”) a ride to her boyfriend’s trailer. Cas wrongly assumes that the energetic and fast-talking Dylan was visiting a relative at the hospital, and soon learns that she was experiencing “suffering vicariously through patients”. See, Dylan fancies herself a writer and has developed a new genre, Action Romanture, which she is convinced will secure a publishing deal and rescue her from a world that doesn’t appreciate her in the least.

An unexpected turn leaves Cas and Dylan on the road together, and quibbling like an old (and odd) couple. Nothing that follows is especially ground-breaking, and in fact, is mostly quite familiar; yet the two leads somehow captivate us with their banter and the understanding that this is leading right where we know it must lead.

Director Priestley wisely utilizes the stunning landscapes of western Canada, and allows the two actors to go at each other in a way that two different generations must – all the while building a friendship that we see long before they do. There are some interesting and effective song choices, but it’s Ms. Maslany’s spunk and depth as Dylan that allows the interactions to click. The legacy note may be the goal here, but the lesson is that no one should be alone … no matter if they be a 22 year old social misfit, or a sixty-something doctor near the end of life.

watch the trailer:

 

 

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Posted by David Ferguson

DIFF 2015 – Day 9

April 21, 2015

 

DALLAS INTERNATIONAL FILM FESTIVAL

Day 9 – Saturday April 18

FRAME BY FRAME (documentary)

DIFF 2015 Silver Heart Award Winner

frame by frame Greetings again from the darkness. Sitting comfortably in our recliners or desk chairs, we have come to take for granted the exceptional work of photojournalists from inside locations we ourselves would never risk going. These folks risk their lives to capture otherwise unimaginable conditions and injustice from around the world.  Co-directors Alexandria Bombach and Mo Scarpelli profile four courageous photographers from Afghanistan.

Documenting the truth with a camera seems so simple; however, as one of the photographers explains, he often finds himself running towards the spot from which everyone else is running away. Put yourself in this situation … you are taking photos of a solemn religious ceremony when suddenly a bomb explodes and bodies, limbs, blood and destruction are everywhere. Do you stay to record the fallout and help the injured, or do you run away from the scene in case another bomb is set to detonate? This film doesn’t judge, but instead it matter-of-factly points out that these photographers understand the role they play in exposing such evil and cruelty.  In other words, they stay.

One of the photographers profiled is Massoud, a Pulitzer Prize winner for his stunning photo of “The Girl in Green”. Massoud is now head photographer of AP – Kabul, and he remains in touch with the girl and her family, while maintaining his mission of documenting history in his country.

The most heart-breaking and anger-inducing segment involves Massoud’s wife Farzana, who is also a photojournalist. Yes, a female photojournalist in Afghanistan. Her personal story is so touching as she was a mere 13 year old girl when she had her first run-in with The Taliban, which had seized control in 1996 – making photography, education, history and any semblance of women’s rights a thing of the past. She shares her story which serves as her inspiration to record the injustices toward women that remain in the country, despite the social improvements since The Taliban was ousted from Kabul in 2001.

This review is no place for all the details covered in this emotional and powerful and informative documentary, but to paraphrase one of the photographers … “my heart was crying but my eyes had no tears left”. Please don’t mistake what these brave people do with the personal infringements of the celebrity paparazzi. The only similarities are the cameras they carry. These photojournalists and the others like them around the globe understand that their “empathy brings meaning to their photographs”, and that photographs are the only assurance that a segment of the population will never again be “voiceless”.

 

DIFF 2015 Award Winning Short Films

The last few days of a film festival allow the opportunity to catch up with the award-winning films that we may have missed. Below is a recap of the six award winning short films from this year’s Dallas International Film Festival:

WORLD OF TOMORROW (USA)

Directed by Don Hertzfeldt. The animated winner jumps ahead 227 years to show us a world where cloning provides everlasting life and perseverance of history and memories. It also depicts a world where financial status remains important, and leaves us with the philosophical thought … “Now is the envy of all dead”.

CAST IN INDIA (India/USA)

Directed by Natasha Reheja. Have you ever noticed that the manhole covers in NYC are stamped “Made in India”? Ms. Reheja noticed and thus began her journey to foundry where the bronze plates are crafted. It turns out these are highly skilled workers who take great pride in their work, face labor union issues, and sacrifice their hands, feet and backs for the manually intensive manufacturing process.

THE FACE OF UKRAINE (Australia)

Directed by Kitty Green. We see a stream of auditions from girls of various ages wanting the highly coveted role of the Ukrainian legendary figure skater Oksana Baiul – former World Champion and Olympic Gold Medalist.

ONE HITTA QUITTA (USA)

Directed by Ya Ke Smith. This provides a look at the despicable fascination of some high school kids regarding videos of violence … especially a “one hitta”, which is blindsiding some innocent with a punch to the face. It also takes us inside a classroom where a teacher pays the price for being in a no-win situation with a punk kid named Jason, whose clueless mother only contributes to his sickening actions.

THE CHICKEN (Germany/Croatia)

Directed by Una Gumjak. It is a pristine example of how a short film can so quickly capture our attention and shift tone from comedy to danger to heartfelt. During war-torn 1993 Sarajevo, a girl receives the gift of a live chicken from her soldier father, and what follows is worthy of the film’s award.

MELVILLE (USA)

Directed by James M. Johnston. The combination of a bleak diagnosis and pregnant wife lead to open mic night at a local hangout, and the unforgettable lyrics of “F Cancer”.

 

RADIATOR

DIFF 2015 – Grand Jury Winner

radiator Greetings again from the darkness. The feature film debut of writer/director Tom Browne might be best suited to live theatre, though it works just fine on the silver screen. So fine in fact, that is was named the Grand Jury winner at the Dallas International Film Festival. On the surface it looks like yet another glimpse at the miseries of aging; however, it doesn’t take long before we viewers are entangled in this three-headed web of marriage, family, dominance and the struggles of growing old and losing control.

Fortunately the bleak subject matter is juiced with enough dark comedy that we actually laugh out loud periodically, while other times we manage at a smile for the smattering of sweet moments. Daniel (played by co-writer Daniel Cerqueira) is beckoned to the rural family home by his mother Maria (Gemma Jones) as she finds herself at a loss on how best to deal with Leonard (Richard Johnson), her husband and his dad.

This is a towering performance from Mr. Johnson, and he plays it full hilt as some odd type of tyrannical tragedy. See, Leonard’s reign as a force in family and life is now relegated to wallowing in his own sorrow, pain and feces while committed only to lying prone on the sofa and bossing his wife about the house with menial tasks for which he demands perfection. When Daniel arrives, he is taken aback by the squalor and demeanor of his once powerful father. He does what any of us would do … he takes control by ordering a hospital bed, getting dad cleaned up, etc.

As viewers we initially see things through the eyes of Daniel and Maria – on the wrong end of Leonard’s demeaning abuse. Somewhere along the way, there is a subtle shift in viewpoint and tone. The roots of love and marriage are revealed to run inordinately deep after so many years. An act of cruelty can somehow be forgotten and life can move on … even after situations that might never survive a shorter-term relationship. This shift is brilliant writing, and at a level we don’t typically see in movies.

In fact, the film seems to disprove one of its more poignant lines: “The black moments smother any flicker of light”, and instead builds on another: “Just because someone changes, doesn’t mean you stop loving them”. You will likely recognize all three lead actors, and each of them deliver excellent performances. Despite the subject matter, my takeaway is actually summed up in yet another line from the film … “I remember so much pleasure”.

 

 

 

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Posted by David Ferguson

DIFF 2015 – Day 1

April 11, 2015

 

DALLAS INTERNATIONAL FILM FESTIVAL 2015

Day 1 – Friday April 10

I missed the Opening Night Gala at the Majestic Theatre last night, but took in three films on the first full day of this year’s festival.

Below is the day’s recap, and a reminder that I seek out the deep cut indies and documentaries that may or may not gain mass market distribution.

 

RED ON YELLA, KILL A FELLA (2015)

DIFF – Texas film series

Red on yella Co-writers and co-directors Duane Graves (from San Antonio) and Justin Meeks manage to hit all extremes with comedy, violence and drama as they trek across some of the roughest Texas terrain. Tongue-in-cheek westerns are rare, and this one never falls into true parody, but instead uses hyper-dramatic music and dialogue delivery to balance the gun play and hardened outlaw activities.

Mr. Meeks also stars as Claude “Sweet Tooth” Barbee, who is leading his band of outlaws across Texas in an attempt to re-claim the gold from a previously botched train robbery. The character name is from a real life outlaw and the actions are loosely based on real life train robber Sam Bass. Meeks is clearly having a ball playing the type of colorful bad guy that actors dream about.

Screen veteran Pepe Serna has a brief but memorable role, and one that is crucial to story development. He too, seems to relish the chance to play a nasty guy. The rest of the cast, many of whom were present at the screening, all seem to have bought into the vision … whether their character is quickly filled with lead or manages to eke out a line or two or three. Every movie lover will quickly recognize the actor playing the Doc as Michael Berryman from The Hills Have Eyes (1972).

The ringing of a bell, a young ventriloquist, twins, prairie land nightmares, a hooker with an ulterior motive, and family revenge all play a role as this group of outlaws is hunted by more than just the Sheriff as they make their way to the coast. With unusual lines of dialogue such as “Shut that puppet up”, and a misleading sign that reads “Lodgers Welcome”, Graves and Meeks deliver an unusual look at the old west and those that inhabited this rugged land.

 

RAIDERS! THE STORY OF THE GREATEST FAN FILM EVER MADE (2015, doc)

DIFF 2015

raiders! Most documentaries are pretty simple to recap: A filmmaker makes a movie about a topic or person. However, simplicity just doesn’t fit here. Filmmakers Jeremy Coon and Tim Skousen made a movie about the making of a movie that is a movie re-made in honor of a movie that was already made.  This isn’t Coppola’s Hearts of Darkness which portrays his difficulty in making Apocalypse Now. Far from it. This is a modern day look back at two/three geeky eleven year old boys making a shot-for-shot remake of Steven Spielberg’s classic Raiders of the Lost Ark.

Coon and Skousen catch up with forty-somethings Eric Zala, Chris Strompolos and Jayson Lamb as they are trying to put together the financing and logistics to film the final scene of their unfinished movie Raiders of the Lost Ark: The Adaptation. These are the same boy that started the process in 1982 and filmed each of the next seven summers until they graduated from high school.

If you are a total film geek, you have probably heard of their film and know that it has been an underground film favorite for years. But you may not know the real life details behind it and certainly not the modern day drama of Eric and Chris as they try to complete it. How about some interviews with their mothers? How about the real world possibility that Eric risks losing his job to complete this thirty plus year old kid’s summer project? How about the personal struggles of Chris over the years, or the fallout with Jayson as he is left out of this final chapter?

Director Eli Roth was instrumental in spreading the word of this film project throughout Hollywood, and the boys even got invited to meet with Spielberg. Mostly we are left with the fascination that young boys can have such passion and persistence over so many years. When asked about whether they missed out on their childhood, Chris responds “We filmed childhood”. A true and fitting response, that doesn’t tell the whole story. Fortunately, Coon and Skousen do.

 

THIS ISN’T FUNNY (2015)

DIFF 2015

Yes, it is funny. And it’s also not funny. This little relationship gem breaks down into 3 chapters … conveniently and obviously noted with title placards: Before, Together, After.

The story follows Juice Bar manager Jamie and stand-up comedian Eliot as their worlds literally collide in a chance meeting that doesn’t, on the surface, set the stage for love ever after. Director and co-writer Paul Ashton plays Jamie and co-writer Katie Page plays Eliot, and their natural onscreen rapport comes courtesy of their real life relationship (as they disclosed in the post screen Q&A).

Don’t mistake this for some simple rom-com. There is a lot going on here and it swirls around not just their budding romance, but also their individual lives. It’s very interesting how the story offers commentary on such topics as how young adults still use their parents as an excuse for their own lack of career success and/or happiness. In an interesting twist, it also allows us to view those same parents (including Mimi Rogers and David Pasquesi) as real people with their own issues, rather than just a drag on the “kids”. And speaking of parenting, Jamie and Eliot go through some rather unique soul-searching on the topic.

If that’s still not enough subject matter for you, we also witness Eliot’s struggles with anxiety. Her trips to a therapist are a battleground for medication levels – Eliot wants to be free of them, and wonders if they are a crutch or actually help. No judgments here, just wonderful material for further discussion.

On top of all that, we are treated to some sterling stand-up from Beth Stelling and Ahmed Bharoocha who are both extraordinarily talented comics. Plus Ms. Page more than holds her own at the microphone, as she brings Eliot’s personal life (and poor Jamie’s mishaps) to her material.  You should also be prepared for the most outrageous performance of Anthony LaPaglia’s career. He’s a riot.

It’s a joy to see an indie with such depth, insight and commentary on what relationships are like in today’s ever-changing world.

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Posted by David Ferguson

FARAH GOES BANG (2013)

April 9, 2015

Farah Greetings again from the darkness. This feature film debut from writer/director Meera Menon and co-writer Laura Goode played Tribeca in 2013, as well as a few others on the film festival circuit since. It takes only a few minutes before it’s clear that Ms. Menon has no inhibitions about displaying the human side of women.

Three friends decide to hit the road in support of Senator John Kerry in his 2004 Presidential campaign against George Bush. These early 20-somethings are bright, idealistic and seeking a cause … they call the Iraqi war “our Vietnam”, and characterize Kerry as the closest thing they have to Bobby Kennedy. Getting Kerry elected may be their first mission, but Roopa (Kiran Deol) and KJ (Kandis Erickson) also have a second mission of making sure their friend Farah (Nikohl Boosheri) loses her virginity (they use a much more colorful colloquialism).

A road trip from Los Angeles to the hotly contested political environment of Ohio offers a few interesting characters along the way: a rude redneck, a thoughtful conservative veteran, and an energetic and opinionated transgender. It also allows the three friends plenty of time for heavy drinking (sometimes until they hurl), pot smoking (to test the alarm), brawling (more than once), exceedingly colorful language, and the expulsion of bodily gas. That’s right … all the things we have come to expect from a road trip movie featuring guys are presented in full female glory. Plus as an added bonus, we get numerous scenes revolving around the ongoing challenges of Persian women’s grooming habits.

Racism and sexism are touched upon, but mostly this movie is about friendship. Unfortunately, the story bounces from comedic to ultra-serious and we only get brief flashes of the girls’ backstories … all of which could have added depth to the film. It seemingly takes forever to get to the core of KJ’s anger-management issues, and Farah’s hang-ups with doing the deed make a bit more sense once we understand her family story.

It’s impressive to see how Ms. Menon brings out the human side in her three leads, and each of the actresses boldly goes “there” to show the connection to each other. On the downside, somehow both the political play and the virginity device (complete with fireworks) come across as annoyances that distract from watching how three real friends interact with each other. Future Menon films will undoubtedly fulfill the promise only teased at by her debut.

watch the trailer:

 

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Posted by David Ferguson

HOME (animated, 2015)

March 26, 2015

home Greetings again from the darkness. Depending upon your expectations for animated films, you will either find this latest from DreamWorks to be nice entertainment for kids, or a bit too simplistic for adults. Twenty years ago Pixar ushered in a golden age of animation with the first Toy Story, and the grading curve was forever changed. If you can accept that not every animated film need be an instant classic, the odds are good that kids will find this to be a very enjoyable hour and a half.

Oh (yes, that’s his name) is the friendliest and most energetic of all the Boovs, a society of technologically advanced aliens who change color based on emotions (similar to a mood ring). The Boovs also excel at running from adversity – especially when their enemy Gorg is chasing. When Captain Smek decides his Boovs will take over earth, he orders the banishment of all humans to Australia (kind of funny when you think about the history of that continent). Left behind is one youngster named Tip (short for Gratuity Tucci, one of the oddest ever screen names for a kid) and her pet, Pig the Cat. It turns out both Oh and Tip are misfits in their own world, and are forced to team up so that Oh can redeem himself and Tip can be reunited with her mother.

The main (and obvious) themes are: stay true to yourself, accept others for what they are (even if they are different from you), and family is important and worth fighting for. Tip is kind of a confusing character because she knows how to drive a car, but admits to being a 7th grader originally from Barbados. Oh has no Boov friends because he is so darned personable and he is always making mistakes – usually due to his desire to connect with others. Captain Smek’s false confidence catapults him into a leadership position, based mostly on his ability to retreat from the difficult decisions. Even the villain Gorg (who looks/dresses like Shredder from Teenage Mutant Ninja Turtles) is simply misunderstood.

As you would expect, there is humor throughout … most of it at a level that those under age 11 will appreciate (that’s not a bad thing). These laughs come courtesy of bubble wrap, a cookbook, awkward dancing, and a hover car that runs on fast food staples like Nacho Mama, Busta Lime frozen drinks, and Burrito Torpedoes. There is a recurring gag showing clumps of earthly items deemed unnecessary by the Boovs, and this gives adults in the audience something to track.

Crucial to the film’s success is the voice acting. Oh is voiced by Jim Parsons as an E.T. version of Sheldon Cooper from “The Big Bang Theory”. His twisted version of the English language (“sad-mad”) is good for a few chuckles, but mostly his eagerness and openness make Oh a character kids will care about. Rihanna voices Tip, and has at least 3 songs on the soundtrack. She does well in capturing the strength and vulnerability of this character who is on a mission to find her mother. Also fun is hearing Matt Jones as Kyle, the ‘is he or is he not’ friend of Oh. Fans of “Breaking Bad” will recognize Mr. Jones as Badger from that series. Not quite as effective are Jennifer Lopez as Tip’s mother and Steve Martin as Captain Smek. Mr. Martin especially could have brought more spark and color to his role.

Director Tim Johnson (Over the Hedge, Antz) took the source material from Adam Rex’s book “The True Meaning of Smekday” and delivered an animated film with a refreshing approach – it doesn’t feature violence, inappropriate humor or a smart-ass kid that disrespects adults. It’s a shame that the unique color palette is quashed by the 3-D technology … and what’s up with the awful title? … but overall, this is one the kids can enjoy (especially if they are struggling to fit in).

watch the trailer:

 

 

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Posted by David Ferguson

WILD TALES (Relatos salvajes, Argentina, 2014)

March 13, 2015

wild tales Greetings again from the darkness. Do you often get accused of having a slightly demented sense of humor? Do you have secret crazy thoughts of seeking revenge on those who have wronged you? If so, writer/director Damian Szifron has a collection of short stories just for you!

Nominated for Best Foreign Language Oscar, Argentina’s entry is just now opening in the Dallas market where I live. To say Wild Tales is a wild ride would be quite an understatement. There are six short stories blended together, and while you may not recognize the theme immediately, it doesn’t take long before rage and retribution jump to the forefront in these seemingly typical slices of everyday life.

The best short stories make a quick grab for attention, and manage to convey character and setting from the beginning. The writing is crucial and can easily collapse in the hands of a less-proficient short story writer. But when it works, it’s fascinating to watch, and Mr. Szifron has a real talent for making us laugh in the midst of truly awful situations.

Not to give away any details, but the six stories involve: a remarkable “coincidence” on a flight, an unwelcome customer at a local diner, a close-quarters brawl at a bridge, the frustration of dealing with “the system”, misguided parental instincts in protecting their kid, and the most wheels-off wedding reception ever filmed.

If you are ever searching for an example of a dark comedy, this one will provide clarity. The seemingly unrelated stories are woven together through payback, though the price is often pretty high. Mr. Szifron’s stories remind us that life is not fair, but when it’s happening to someone else, we can still laugh about it.

watch the trailer:

 

Leave a Comment » | Comedy, Drama, World Cinema/Foreign | Tagged: | Permalink
Posted by David Ferguson

RUNNING WILD (2015)

March 8, 2015

running wild Greetings again from the darkness. Childhood friends are the best. Sharing your inner most thoughts and goofy actions before the emotional self-defense shields of adult life kick in create some of the best memories we will make. That moment when those childhood friends try to force a romantic connection – and it fails miserably – is not just an awkward moment, but also a life-changing one. Liza (Zoe Worth) and Eli (Alden Ehrenreich) share just such a moment … and their friendship changes immediately, even though they don’t admit it for a few years.

The film bounces around from Liza and Eli’s high school days, to leaving for college, to a break from school, and finally 4 years later. They are the kind of friends who speak in code and have their own hand signals to communicate. Really, they are pretty normal except that for lack of mingling with other friends. And by pretty normal I mean they are actually kind of boring. You know the kind of boring where someone thinks they are way more interesting than they really are? That’s Liza and Eli.

On the bright side, we don’t get too many movies that play out like a hidden camera is following two friends. It feels like we are watching Liza and Eli come to grips with the first steps of adult life – and they don’t seem to like it all that much. Again, that’s pretty normal. This coming of age process includes family parties, quirky little road trips, sexual tension, tent camping to unwind, spontaneous dodge ball, carpooling (and more) with a school friend-turned-weed-dealer (Zachary Webber), dreams of a Labradoodle, and yes, even ukulele music (on more than one occasion).

There are some elements in this film from writer/director Melanie Shaw that remind me of the very fine indie gem Once (2006) and even the classic The Graduate (1967). We can certainly relate to Liza and Eli envisioning themselves as a modern day Bonnie and Clyde couple – minus the gunplay, and we have all felt that moment, and cracked that smile, when someone says … “I just wanted to look at you“.

watch the trailer:

 

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Posted by David Ferguson

FOCUS (2015)

March 7, 2015

focus Greetings again from the darkness. Movies about “the con” have had many different looks over the years: the suave coolness of Oceans 11, David Mamet’s twisted perspective in House of Games, the tongue-in-cheek teamwork of Redford and Newman in The Sting, the demented mother-son approach in The Grifters, and of course, the slapstick style of Steve Martin in Dirty Rotten Scoundrels. All of these committed to one style and made it work. The latest from the writing/directing team of Glenn Ficarra and John Requa (I Love You Phillip Morris, Crazy Stupid Love) can’t seem to decide if they want the audience in on the joke, or if they rather the audience be the butt of the joke.

Will Smith plays Nicky, a third generation con man who is also a very conservative entrepreneur. He runs his cons as a business and prides himself on never taking unnecessary risks, ensuring the odds are in his favor. His professional curiosity lands him in an awkward situation with Jess, played by Margot Robbie (The Wolf of Wall Street), who clumsily mistakes Nicky for an easy mark. Instead, he agrees to mentor her during Super Bowl week in New Orleans. This sequence is the best and most entertaining part of the film.

The second half of the film complicates things with the do they or don’t they love story between Nicky and Jess, as well as a few other messy personal relationships. The fun here lies with the con, not the love story, and that’s where the focus should stay. In fact, the most interesting characters aren’t Nicky and Jess, but rather a riotous Adrian Martinez (as Nicky’s computer whiz assistant), Rodrigo Santoro (as a racing team owner trying to cheat the competition), Gerald McRaney (a hoot as Santoro’s crusty old henchman), Robert Taylor (TV’s “Longmire”) as one of Santoro’s competitors, and BD Wong as Nicky’s betting adversary in the film’s most ludicrous sequence (and that’s saying a lot). Ms. Robbie has true star potential, but the script hangs her out a few times. She will be seen as Jane in next year’s Tarzan movie, so add that to your must-see list.

A very smart person I know observed that Will Smith has been conning us for years, and maybe by taking this role, at least he is finally admitting it. It is a bit tiresome to see Mr. Smith consistently play the smartest guy in the room, the most charming guy in the room, and the sneakiest guy in the room. It seems maybe he is one of the few that still sees him as such. The best actors elevate their co-stars and the script, while it seems he believes his star power is all that’s required.

watch the trailer:

 

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Posted by David Ferguson

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