INHERENT VICE (2014)

January 12, 2015

inherent vice Greetings again from the darkness. What is an absolutely critical element to a good whodunit? The answer is “it”. By definition there must be an “it” that someone has performed or carried out.  Director Paul Thomas Anderson’s adaptation of Thomas Pynchon’s novel kicks off with a terrific scene that appears to set the stage for a big mystery that must be solved. But don’t fall for it … it’s really a parody of film noir that depicts the end of the care-free hippie era in southern California. Or maybe it’s the beginning of the paranoid era in southern California. Or maybe it’s something else all together. Whatever it’s meant to be, it is certainly a wild ride with a never-ending stream of colorful characters in strange situations.

Many of us consider Paul Thomas Anderson to be one of the true creative geniuses of the film world. His 2007 There Will Be Blood was a towering achievement and complements his other films such as The Master, Magnolia, Boogie Nights, Punch-Drunk Love, and the underrated Hard Eight. His latest veers into new territory and features one of his more outlandish characters in “Doc” (Joaquin Phoenix), a mutton-chopped hippie Private Investigator who never misses a chance to indulge in his marijuana habit. Welcome to 1970 SoCal.

It seems new characters and scenarios are being thrown at us in every scene, as Doc readily accepts new cases and new leads … only there really is no case, even though he spends most of the movie looking into things. His efforts find him crossing paths with his ex-girlfriend, the wife of a missing real estate tycoon, the Aryian brotherhood, a sax player who is either a Federal informant or a student dissident, a coke-fueled dentist, an Asian massage parlor, the FBI, a maritime lawyer, his pizza-delivering sometimes girlfriend who is also a District Attorney, a mysteriously named entity Golden Fang, and the tightest-wound/probably corrupt/ TV-acting police detective named Bigfoot.

Should you require additional weirdness, check out how many character names come right out of cartoons (Doc, Mickey, Bambi to name a few). Need more?  How about a soundtrack that features Neil Young, Sam Cooke, Can’s “Vitamin C”, and a score from Radiohead’s Jonny Greenwood? Or film stock that has the look of 70’s vintage … shot beautifully by Oscar winning DP Robert Elswit. There is just no describing the shenanigan’s other than to say the characters, situations and dialogue are alternatingly confounding and humorous. Our movie-watching brains are trained to follow a plot, but Anderson and Pynchon seem to be laughing in the face of this tradition as we try to assemble the nominally related puzzle pieces.

The cast is varied and fun. Katherine Waterston (Sam’s daughter) plays Doc’s ex who kicks off that first scene, Eric Roberts is the kinda missing rich guy, Michael Kenneth Williams delivers a clue, Benecio Del Toro is the maritime lawyer, Owen Wilson is the sax player, Jena Malone is his clean and sober wife, Reese Witherspoon plays the DA, Martin Short is the horny dentist, Martin Donovan is another creepy rich guy, Joanna Newsome is the narrator and periodic assistant to Doc, Serena Scott Thomas (sister of Kristin Scott Thomas) plays the wife of the missing rich guy, and Maya Rudolph (the director’s real life partner) is Doc’s receptionist … and Maya’s late mother Minnie Ripperton sings “Les Fleurs” on the soundtrack. But it’s Joaquin Phoenix and Josh Brolin who really take this thing to the edge. It’s clear both are having fun, which is the best you can hope for while watching this one.

watch the trailer:

 

 

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Posted by David Ferguson

APPROPRIATE BEHAVIOR (2014)

January 4, 2015

 

appropriate behavior Greetings again from the darkness. It’s finally here! That is, if you have been anxiously awaiting a twist in the New York hipster Romantic Dramedy genre; and if the twist you want is a semi-autobiographical story of a Persian bi-sexual female whose focus in life is making her ex-partner jealous, while hiding the truth from her own conservative parents.

Desiree Akhavan is the first time writer/director who also stars as Shirin, the lead character described above. Ms. Akhavan and the movie owe so much to Lena Dunham (“Girls”) that the opening credits should have had a placard stating “Inspired by Lena”. There is no shame in crediting those who influence one’s work. We also see touches of Woody Allen and Nia Vardalos in Akhavan’s writing, and Greta Gerwig in her acting style. What we haven’t seen before, is an opening scene depicting the leading character breaking up with her partner and walking down the street toting her strap-on.

Shirin is a twenty-something New Yorker who is insecure and judgmental, cynical yet hopeful, lacking in self-esteem, without any discernible professional talent or social skills, and void of any ambition … other than making her ex, Maxine (Rebecca Henderson) so jealous that she will come running back. Her “plan” is to sleep with many strangers of both sexes until one of these trysts makes Maxine realize that she can’t live without Shirin. She does all of this while dodging poverty working at a kindergarten teaching filmmaking to 5 year olds.  We are told Shirin has a Masters in Journalism, just so we understand she has chosen this path in life.

As a filmmaker, Ms. Akhavan shows real promise. Her feel and eye for crucial scenes between two people is very strong, though the dialogue could have used some help – many of the one-liners probably sounded funnier in her head than they come across on screen. Her use of flashbacks was especially creative as she juxtaposed good and bad moments of Shirin/Maxine with what’s happening at any given moment. The sexual escapades and the unique community of New York hipsters will probably prevent this from any type of mainstream success, but it should provide opportunities for Akhavan as a filmmaker. Not surprisingly, as an actress, she will be appearing in the next season of “Girls”.

The Persian undercurrent seemed to provide the most potential for a real story of interest, though the focus on bi-sexuality more readily grabs headlines. Shirin’s relationship with her parents and the Iranian community offered a chance for illumination and unique exchanges, but unfortunately most of these were glossed over for the next party or pick-up. “Persians communicate mostly through gossip” is a fascinating line that begged for more attention, and Shirin’s attempt to come out while talking with her mom was well done and so deserved a follow up.

Supporting work is provided by Halley Feiffer (daughter of Jules Feiffer) as Shirin’s best friend Crystal. Ms. Feiffer steals every scene in which she appears, and had me wanting to learn more about her character. Scott Adsit (“30 Rock”) plays the urban-stoner dad who gets Shirin her the teaching job that leads to the “Tale of the Lost Fart” – the turning point for Shirin as she finally reaches the moment when she realizes she has gotten over Maxine. The first film from an exciting new talent always brings a balance of anticipation and a reminder to keep our hopes in check. Here’s hoping Desiree Akhavan has more to say than “I hate so many things, too“.

watch the trailer:

 

 

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Posted by David Ferguson

LET’S KILL WARD’S WIFE (2014)

January 2, 2015

Let's kill ward's wife Greetings again from the darkness. What would it take for you and your buddies to talk about killing someone? Perhaps you already have … you know, in a joking way … maybe while playing golf together. That’s what happens to Ronnie (James Carpinello), David (Patrick Wilson), and Tom (Scott Foley). A couple of cracks about wanting to kill Stacy (Dagmara Dominczyk), wife of their buddy Ward (Donald Faison), leads to further discussion and an uncomfortable google search.

Since all that is pretty gloomy, you should know that this is a comedy. It’s a very dark comedy (given the title) that is filled with a stream of one-liners and some outlandish behavior from a group of people who will never be considered criminal masterminds. On top of that, it comes across as some kind of psycho-sexual, spouse-swapping filmmaking project for first time feature writer/director Scott Foley.

Let’s see if we can connect the dots: In real life, Foley is married to Marika Dominczyk (she plays David’s wife in the movie) who is also the real life sister of Dagmara Dominczyk (Ward’s wife) who is the real life wife of Patrick Wilson. James Carpinello’s real life wife is (Dallas’ own) Amy Acker (she plays Tom’s wife), and we also get the real life daughter of Carpinello/Acker and the real life son of Foley/Marika … plus the younger sister of Marika and Dagmara. That’s more crossover than most community theater productions!

You may recognize Scott Foley from TV’s “Felicity” (or many other projects), and this is his first feature film as writer/director. The cast is obviously having a great time, and in that manner, reminds a bit of MUCH ADO ABOUT NOTHING (Joss Whedon’s 2012 version), which was also cast with a group of close friends (including Amy Acker, who also stars here). There are also similarities to VERY BAD THINGS, the 1998 film that brought out the worst traits of its characters. However as stated, this one is filled with offbeat humor and can best be described as black comedy. We even get Nicolette Sheridan as an on-the-prowl aging actress.

Some excellent films are referenced here, including: PULP FICTION, FARGO, SHAWSHANK REDEMPTION, and TRAINING DAY. Clearly this film is not near the level of any of those, but they are used to keep the dialogue amongst friends presented in a grounded way for such an outrageous premise. This one won’t make you think much – and please don’t let it convince you that murder is a good idea. It might, however, generate a few laughs, and that’s always welcome.

watch the trailer:

 

 

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Posted by David Ferguson

BESIDE STILL WATERS (2013)

November 14, 2014

beside still waters Greetings again from the darkness. Director Chris Lowell co-wrote the story with Mohit Narang, and there is really no other way to describe it than a modern day redux of The Big Chill (1983). If you are familiar with that film from 30+ years ago, you remember the narcissism, strained friendships, and emotional turmoil that were offset by a best-selling soundtrack. Three decades later we witness narcissism run amok and a crumbled version of friendship, this time offset by the guzzling of alcohol.

Daniel (Ryan Eggold, TV’s “The Blacklist“) has organized a reunion of his childhood friends back at the cabin on the lake where they shared many a summer. Daniel’s parents recently died in a car accident, and none of his “friends” showed up for the funeral … hence, the crumbled version of friendship. As they begin arriving at the cabin, we immediately categorize each: Tom (Beck Bennett, “Saturday Night Live“) is the wise-cracking slacker, James (Brett Dalton) is the TV Reality Show celebrity, Martin (Will Brill) and Abby (Erin Drake) are the high school sweethearts stuck in a strained marriage, and Charley (Jessy Hodges) is the free-spirited chick with a lust-filled history. The arrival of Daniel’s old flame Olivia (Britt Lower) is offset by her fiancé Henry (Reid Scott). May the oddballs be ever in your favor.

Sounding like the old man I am quickly becoming, this generation of thirty-somethings left me quite saddened. What made The Big Chill work, was the actual bond that tied the group together. Remember, they all showed up for a funeral … rather than being summoned for skipping one. The original group had charm, personality and was interesting; whereas this group remains focused on their own problems – oblivious to the needs and feelings of others. They find the bottom of a bottle or drugging an adversary to be actual solutions, rather than resorting to the effort involved with intimacy or conversation. Yes, sad I am.

Despite my issues with the possibility of this being an accurate portrayal of this generation, there are plenty of positives with the film. Lovell truly has a photographer’s eye and uses it for much of the camera work … it’s beautifully shot. Also, each member of this ensemble jumps right in to their character and does a superb job (especially Reid Scott). There is also a terrific segment of three conversations edited together that play off each other like some kind of wonderful parlor game. It’s the highlight of the film.

While much of the film plays like a passive-aggressive expose’, the script leaves no room for interpretation or analysis … Daniel actually spells out his true misguided mission. Beginning a movie with references to Gertrude Stein and Ernest Hemingway is often a good start. However, Hemingway’s theory that all generations are lost, doesn’t mean that some aren’t more lost than others. The game of Whisky Slaps works not just as a scene, but also as a metaphor for watching this movie.

watch the trailer:

 

 

 

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Posted by David Ferguson

THE PLAYBACK SINGER (2013)

November 14, 2014

playback singer Greetings again from the darkness. Kickstarter campaigns will not allow every wannabe director to realize their filmmaking dream, but it did allow writer/director/producer Suju Vijayan to make her first feature. The film has deservedly enjoyed some success on the second tier Film Festival route, and it’s done so as a pleasant viewing experience without the exaggerations typically seen in the cultural battles of indie productions.

Priya (Navi Rawat from TV’s “Numb3rs”) and Ray (Ross Partridge) are a happily married couple who seem relatively content with their life in Van Nuys, California. She is an immigration lawyer who takes her job to heart, while he is a former teacher searching for his place in life … currently designing a jungle gym (he dropped out of architecture classes) while juggling the demands of beer drinking and pot smoking.  One morning Priya informs Ray that her 20 year estranged father will be staying with them for awhile during his concert tour with other musicians from India.

Ashok (Piyush Mishra) is an obstinate man who proceeds to interrogate the couple on such hot topics as the size of their home, their status as renters, Ray’s lack of a job, Priya’s fashion and work outside of the home, and of course, the couple’s decision not to have kids. The cultural and generational differences are handled in a grounded, believable manner with a tinge of humor as well as insight. Ashok’s overblown ego and pride take a direct shot when it’s discovered that the concert tour is not what he expected. It’s this development that takes the story in an interesting direction … an obvious ending in sight … but interesting still.

Ray and Ashok are forced to spend time together while Priya works, and it’s kind of funny to spot their similarities. Ashok’s marital and relationship track record illustrates a similar self-centeredness and lack of direction to what we witness with Ray. Soon enough, these two are bonding over wine and the creative nature they share.

The story is familiar enough, and carries the banner for the “he’s family” motif. Despite this, the marital strife and family emotions and personality traits are all well written and well performed. Mr. Mishra’s work is especially delightful to watch, and Mr. Partridge bears a striking resemblance to Dermot Mulroney, including the corresponding slacker style. The film covers no new material, but does provide an enjoyable look at family life complicated by cultural and generational differences.

watch the trailer:

 

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Posted by David Ferguson

NIGHTCRAWLER (2014)

November 1, 2014

nightcrawler Greetings again from the darkness. Many of us still catch ourselves asking “Why is this news?” while watching the local newscasts. We ask this despite knowing sensationalist journalism is the way of the world, and writer/director Dan Gilroy reminds us (in a rare comedy-thriller) … if it bleeds, it leads.

Jake Gyllenhaal continues his progression as one of the most fascinating actors working today. Here he plays Lou Bloom, a fast-talking, self-help studying, ultra-charming sociopath, with creepy bug eyes (thanks to a 20-25 lb weight loss) and an even creepier grin. Mr Gyllenhaal nails the role in a way that reminds of Travis Bickle of Taxi Driver (Robert DeNiro was 33 at the time – the same age as Jake now).

Three other movies came to mind while watching this: Network (the lack of a conscience approach to ratings), Drive (the stylistic camera work and loner lead character), and Body Double (a fascinating Brian DePalma film from years ago). Rene Russo is the veteran news woman who encourages and enables the Bloom character to use his “good eye” to pursue the money shots … defined as anything that strikes fear into the suburban world.

Gyllenhaal is all in for his role as Bloom. Nightcrawling is the label given to stringers (private cameramen) who compete for the video that will lead the newscasts. Bloom’s google-based training has turned him into a Tony Robbins type who blows through dialogue at a speed every bit as fast as he drives his red Dodge Challenger to the next tragedy. Bloom is the epitome of charm in the wrong hands. Think Ted Bundy with a camera. While Bundy actually committed the murders, Bloom blurs the line between recorder of history and influencing the criminal action. He also delivers one of the first on screen ‘chasing a car chase’ scenes.

This is Dan Gilroy’s directorial debut, though he has written over films, including The Bourne Legacy, which was directed by his brother Tony. Dan also wrote my of my favorite rarely seen films entitled The Fall (2006). Dan Gilroy is married to Rene Russo, and her calm, yet equally sleazy, presence works well with the quirky, in-your-face Gyllenhaal character. Cinematographer Robert Elswit (known for his work with Paul Thomas Anderson) beautifully captures the nighttime energy of Los Angeles, as well as the brutal and savage crime scenes.

Gyllenhaal is the real deal here, and somehow makes this frightening monster believable as a guy who could walk amongst us every day (or night). Early on in the film, his character is asking for a job and spouts off a line that includes a bit about being “raised in the self-esteem movement so popular in schools“. It’s our first glimpse of his psychosis which is also grounded in reality.

SEE THIS MOVIE IF: you want to see the extremely rare comedy-thriller OR you want to see Jake Gyllenhaal’s wildest performance yet

SKIP THIS MOVIE IF: the actual nightly news is creepy enough for you … no need to see how it could be even worse

watch the trailer:

 

 

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Posted by David Ferguson

ST. VINCENT (2014)

October 19, 2014

st vincent Greetings again from the darkness. Moments after Bill Murray’s Vincent cracks a rare on screen “Chico and the Man” reference, we get our first glimpse of scrawny Oliver (newcomer Jaeden Lieberher), and we immediately know where this story is headed. The fact that we never lose interest is thanks to Mr. Murray, the rest of the cast and writer/director Theodore Melfi (his first feature film).

Though this is ultra-predictable and even strains credulity, we nonetheless connect to Murray’s Vincent – a grumpy, drunken, slobby, chain-smoker who has a bond with a pregnant Russian prostitute/stripper (Naomi Watts). Melissa McCarthy plays Oliver’s mom Maggie, who has separated from her philandering husband, and is intent on making a life for her son. It’s here where it should be noted that Ms. McCarthy plays the role straight – none of her usual funny-fat moments. Instead, she excels in a scene with an emotional dump on Oliver’s principal and teacher (a standout Chris O’Dowd).

Surprisingly, this could even be described as a message movie. Vincent quickly notices that Oliver is lacking street smarts and sets out to correct this. The story reminds us that all people are multi-faceted. The good have their rough edges, and the “bad” likely have a back-story and some redeeming value. Vincent is so cantankerous that it takes a kid as appealing as Oliver to balance the story. Even knowing a feel good ending is coming, we as viewers don’t mind being dragged through the sap.

Murray is outstanding, and if the script had a bit more heft, he would probably garner some Oscar consideration. McCarthy deserves notice for going against type, and Naomi Watts flashes some real comedic timing (maybe the biggest surprise of all). O’Dowd has some of the best one-liners in the film, and shows again that he is immensely talented. Terrence Howard seems a bit out of place as a loan shark, but he has limited screen time, as does Ann Dowd as the nursing home director.

Prepare for the feel-bad-then-good ride, culminating in a school auditorium event that reunites the key characters, and allows the child actor to draw a tear or two from the audience. Good times that end with classic Murray over the closing credits.

SEE THIS MOVIE IF: you have missed the fully-engaged Bill Murray last seen in Lost in Translation (2003)

SKIP THIS MOVIE IF: unpredictable endings are why you see movies

watch the trailer:

 

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Posted by David Ferguson

HECTOR AND THE SEARCH FOR HAPPINESS (2014)

October 8, 2014

hector Greetings again from the darkness. Don’t you feel sorry for the smart, rich doctor with the beautiful and successful wife, luxury apartment and appointment book full of patients?  What about when he loudly humiliates one of those patients for expressing her feelings? We are supposed to want Hector to be happy. But do we? Personally, I didn’t give a rip about Hector.

Based on the novel by Francois Lelord, the movie stars Simon Pegg as Hector, a psychiatrist bored with the every day rituals he has set up for himself. A rare two minutes of soul-searching leads Hector to pause his life and embark on a mission to discover the true meaning of happiness. See, Hector believes he can no longer help his patients until he helps himself. My take is that Hector can’t help his patients because he isn’t even trying … he is a narcissist and a jerk who can’t appreciate the moments that make life grand. My disgust towards people like Hector made his journey much less entertaining and enlightening than if the character were someone I cared for.

If all that weren’t bad enough, the first person Hector meets on his trip is an obnoxious business man (Stellan Skarsgard) whose key feature is that he is much richer than Hector. The two grown men tour Shanghai and the night is capped with the gift of a prostitute with a heart. This is no spoiler because Hector is the only one who doesn’t know she is a prostitute. After this, he hangs out with Tibetan monks and sets up their Skype (so he can use it).

Along the way, Hector’s OCD traits cause him to maintain a journal filled with self-help one-liners and funny drawings of his sights. His spontaneous travel itinerary and endless budget take him next to “Africa” – quotations for the generic and clichéd approach the film provides. When Hector is imprisoned by rebels, there was glimmer of hope for the movie, but soon enough, a previous favor for a drug lord (Jean Reno) pays dividends.

Somehow the movie has less insight than the similarly themed EAT PRAY LOVE, and certainly less creativity than The Secret Life of Walter Mitty. Hector’s approach even blatantly borrows from the “Tintin” stories, and makes no apology for doing so. The only moment with any emotional depth comes when Toni Collette lashes out with armchair psychology and tells Hector exactly what he is. In all fairness, the movie is directed by Peter Chelsom, who also directed Hannah Montana: The Movie, so perhaps any expectations were too high.

Despite all of the short-comings, I will always pay admission if a movie includes a 3 minute monologue from the great Christopher Plummer, an especially welcome sight here. Simon Pegg, though an incredibly gifted comic actor, is over the top miscast here. His persona is distracting to the point that we never once believe he could be a psychiatrist or that Rosamund Pike would find him appealing. But the single biggest obstacle is that an audience finds it difficult to root for a narcissistic protagonist who believes that there must be some magic potion for happiness … maybe sweet potato stew.

SEE THIS MOVIE IF: you always root for the spoiled, rich guy to win in his battle against a mid-life crisis

SKIP THIS MOVIE IF: your local cinema has a rule against throwing items at the screen during especially annoying parts

watch the trailer:

 

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Posted by David Ferguson

THIS IS WHERE I LEAVE YOU (2014)

September 21, 2014

this is where Greetings again from the darkness. After watching this movie, I thought about researching whether the boobs of a 76 year old actress had ever been as front and center as they are in this dramedy from director Shawn Levy – not counting Calendar Girls which was for a worthy cause. Luckily I came to my senses, and realized that’s not a topic anyone should google … except maybe a 76 year old man.

Jane Fonda is the actress whose enhanced assets are so prominently featured, and she plays the mother of four adult children brought together to mourn the death of the family patriarch. This is based on the novel by Jonathan Tropper and though it’s watchable enough, it could have benefited from a better script adaptation and a less mainstream comedy director. Mr. Levy provided the popular and entertaining A Night at the Museum, as well as a long list of simple minded movies that didn’t prepare him for the depth of Tropper’s story.

The four “kids” are played by Corey Stoll, Jason Bateman, Tina Fey and Adam Driver. Also joining them under a single roof are Stoll’s desperate-for-a-baby wife Kathryn Hahn, Fey’s two kids and self-professed a-hole husband (Aaron Lazar), and Driver’s engaged-to-be-engaged much older woman played by Connie Britton. If you think that’s an outstanding cast, note that also appearing are Timothy Olyphant (Fey’s brain-damaged former lover), Rose Byrne (she always lusted after Bateman), Dax Shepard (sleeps with Bateman’s wife played by Abigail Spencer), Ben Schwartz as an oddball Jewish rabbi, and Debra Monk (the helpful neighbor and more).

Obviously the issue with so many characters and talented actors is that screen time is limited. Somehow each of these have one key moment in the film, and that may be the biggest issue. Some of these we want to know more about (Olyphant, Byrne, Brittain), while others could have been written out of the script altogether (Lazar, Schwartz, Shepard) and the movie wouldn’t have suffered, and might have improved.

Most of the story revolves around Bateman and his situation – crumbled marriage, lost job, dead father, plus even more. Going through that and facing his sit-com worthy dysfunctional family provides an unending stream of none-too-subtle moments: a basement sleeper/sofa that won’t fold out, roof top talks with his bossypants sister, and even fisticuffs inside the family and out.

This is another in the Suburban-angst sub-genre, and the numerous contrived scenes and formulaic sequences are salvaged only by the talented casts ability to squeeze the moment from the next one-liner. There is so much rage and resentment in this family that we viewers are willing to find humor in the toddler toting his portable potty with him everywhere, or even Bateman taking the expected prat fall in an ice rink. There is little edge to this material, but it’s not difficult to glimpse how the right director could have approached the genius of The Royal Tenenbaums or the original Death at a Funeral, rather than a generic blend of Garden State and August:Osage County.

Britton, Byrne and Batemen all have their moments, and the movie is certainly watchable … though it could have been exceptional as either a straight out comedy or an indie-type drama. No need to email me if you come up with additional films featuring 76 year old boobs.

SEE THIS MOVIE IF: you are up for the challenge of keeping track of the seemingly endless number of characters who have “a moment” during this one

SKIP THIS MOVIE IF: you share the sentiment with me and Jason Bateman’s character that there is no need to focus on Jane Fonda’s “bionic breasts”

watch the trailer:

 

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Posted by David Ferguson

FRANK (2014)

August 31, 2014

frank Greetings again from the darkness. Most movies fit pretty easily into a genre: drama, comedy, action, etc. This latest from film festival favorite Lenny Abrahamson is tough to classify. It begins with silly and funny inner-dialogue from an aspiring musician/songwriter (Domhnall Gleeson), transitions into a dark dramady with complex characters and dialogue, and finishes as a bleak statement on mental illness and the music business.

That’s more than I would typically disclose, but some have described the film as an outright comedy and I find that unconcsionable. If you are expecting a laugh riot, you will not only be disappointed, but are likely to miss the unique perspective provided.

The screenplay is written by The Men Who Stare at Goats collaborators Jon Ronson and Peter Straughan. Clearly inspired by the late British comedian and musician Chris Sievey (and his character Frank Sidebottom), Mr. Ronson’s work with Mr. Sievey is the driving force. It’s also the reason Gleeson’s character is emphasized over Michael Fassbender‘s titular character who dons the paper mache head for the bulk of the movie. This script decision probably keeps the film from reaching greatness.

The exceptional and attention-grabbing first 15 minutes set up a movie that dissolves into an exploration of the creative process within mental illness … Franks states numerous times that he has a certificate (certifiable). There is also an ongoing battle between art and commerce, as waged by Maggie Gyllenhaal‘s character and that of Gleeson. Social Media power is on full display as this avant-garde performance art band gathers a huge following prior to ever really producing any music.

Fassbender is somehow exceptional in his “masked” performance, and it’s very interesting to see Ms. Gyllenhaal in a different type role. Gleeson lacks the charisma to carry the film, but the supporting cast of Scoot McNairy (who I think should have played the Gleeson role), Francois Civil, Carla Azar (Autolux drummer) and Tess Harper all deliver and prevent the film from drooping.

Without seeing Frank’s facial expressions, we witness his transformation from mystic/guru to an unstable and socially uncomfortable dude striving for likability, but unsure what the term really means. Must artists suffer for their art? Why does society latch onto the newest social media gimmick? What is creative success and why are so many afraid of it? The film begs these and other unanswerable questions. Certainly interesting, but definitely not 90 minutes of laughter.

SEE THIS MOVIE IF: you have always had a secret desire to be a rock star wearing a giant paper mache head at all times (and who hasn’t?) OR you have an interest in the role of creativity in treating mental illness.

SKIP THIS MOVIE IF:  you are expecting some gimmicky comedy like Ted … though this one is funnier than Howard the Duck.

watch the trailer:

 

 

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Posted by David Ferguson

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