A MONSTER WITH A THOUSAND HEADS (Mexico, 2016)

June 17, 2016

a monster with Greetings again from the darkness. Instances of the little guy fighting mightily against a bureaucratic monolith are featured often in cinema, so it’s helpful to have an auteur like director Rodrigo Pla serving up his vision … in this case, a story from writer Laura Santullo.

In just the few opening scenes we quickly gain an understanding that this is an emotional story, and not one determined to spell out all details through intricate dialogue. Instead the lighting and camera focus on Sonia (Jana Raluy) as she tries to comfort her husband as he moans in pain (her face relaying that feeling we’ve all had as a loved one suffers so).

Next we see a determined and desperate Sonia … with teenage son Dario (Sebastian Aguirre Boeda) in tow … escalating her battle against the doctors, insurance company and pharmaceutical company that have seemingly conspired to prevent her husband from receiving the treatment he needs. Sadly, we easily see ourselves sliding into Sonia’s shoes as she pursues the proper treatment for her husband – blackmail, kidnapping and assault laws be damned!

Her fight against a corrupt and rigged system never gets easier, even after she uncovers documented proof that doctors are incentivized for high rejection rates. In other words, profits are priority over healing and treatment. Though set in Mexico, this personal desperation has been experienced by citizens of most every country.

Mr. Pla’s expertise as a filmmaker is evident throughout. The use of a running courtroom narrative as a backdrop adds dimension to the otherwise minimal use of dialogue. Additionally, the camera work is stellar … especially in an early parking garage scene where we witness the first confrontation through the windshield of another car (assisted by that vehicle’s headlights). It’s yet another example of how emotional responses outweigh the verbal here, and why this story of fighting bureaucratic red tape goes beyond many others.

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Posted by David Ferguson

MISFORTUNE (2016)

June 15, 2016

misfortune Greetings again from the darkness. Sporting the vibe of two buddies making a movie on their own terms, the film plays like a late night B-movie that would be perfect for one of those sleepless nights. Writer/director Desmond Devenish and co-writer Xander Bailey also star in their own movie … a decision that implies passion project and low budget (both of which can be good or bad).

Nothing in the script is new or groundbreaking, as we have a jewelry store robbery that ends in a double-cross and shootout among partners in crime. This is followed by a 7 year flash forward with the son of the dead partner seeking revenge for his father’s death, and the early-paroled partner on the hunt for the stolen diamonds. Of course, there is nothing wrong with a dose of familiarity as long as the characters and setting are interesting.

The original two partners are played by a couple of familiar and excellent actors: Kevin Gage as Mallick and Nick Mancuso as Roman. Both have great screen faces and voices, and we are left wishing these two could go at each other a bit longer. Also in the mix is Steve Earle, friend to Roman and later his son. Once Mallick is paroled, it’s filmmakers Devenish as Boyd and Bailey as Russell that get most of the screen time – along with Jenna Kannell (a Neve Campbell lookalike) as Boyd’s girlfriend Sloan.

After the worst (unintentionally comical) rock climbing movie scenes ever, we get more shootouts and double-crossing … although Carl Bailey as the Sheriff adds a quick dose of realism and interest. The film would have been better served with a more experienced actor in the role of Boyd, though Xander Bailey does a very nice job in the mostly thankless role of Russell.

The film squanders the desert setting and could have followed the model of last year’s Mojave (with Oscar Isaac), which put the desert front and center as a character unto itself. From a filmmaking perspective, it’s difficult to determine if budget limitations minimized the suspense and conflict, or if that was more script related. The one sure lesson here is … don’t squander the talents of Nick Mancuso or Steve Earle!

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Posted by David Ferguson

LEN AND COMPANY (2016)

June 10, 2016

Len Greetings again from the darkness. Mining a mid-life crisis for new film material often results in something we have seen on screen too many times in the past. However the first feature film for writer/director Tim Godsall and co-writer Katharine Knight draws inspiration from the 2008 Carly Mensch one-act play “Len, Asleep in Vinyl”, and what we get is a terrific little indie gem with multiple interesting characters.

Highly successful music producer Len Black has pretty much “dropped out” of society as evidenced by his quitting in the midst of an awards ceremony, and by his new hobby of floating in the algae-laden swimming pool at his country estate. His self-imposed exile seems designed to magically reveal the meaning of life and lead to a form of self-discovery. Soon his peaceful deep-in-thought zen is disrupted – first by the arrival of his estranged son Max, and then by the presence of his pop star protégé Zoe. Len is perturbed by the uninvited guests, and shows nothing approaching warmth or caring towards either.

What we really have is a 3 person collision of psychological crisis. Len is attempting to come of age (a bit late, given he’s in his mid-40’s); OCD Max has dropped out of school in hopes of making it with his band; and Zoe is on the verge of an emotional breakdown. Three messes all intertwined with each other, as Max just wants Len to be a dad this one time, and Zoe wants him to show a little compassion and not treat her like the pop music ATM she has become. Despite the relentless attention she has from her public and fans, what she needs is a bit of attention from the guy that got her into this.

Rhys Ifans plays Len, and his outstanding performance makes the film work. He realizes he’s a jerk, but has no clue how to atone for the past. Jack Kilmer (Val’s son who is also the “projectionalist” in The Nice Guys) plays Max as a carefully considered young man who is never without his “to do” list. Juno Temple plays Zoe, and perfectly captures the two sides and delicacy of young fame. As an added bonus, the fourth wheel is local kid William (Keir Gilchrist, It’s Kind of a Funny Story), who ironically is a surrogate-son type to Len, and helps out with chores around the house. There is also a brief sequence featuring the always great Kathryn Hahn as Len’s ex and Max’s mom.

The heaviness of the emotional stuff is offset brilliantly by comedic moments … some small, others not so small. The scene with Len addressing William’s classroom (in a quasi-take-a-parent-to-school day) is both hilarious and insightful. Minus any decorum or good judgment, Len spills to the students what his life has been. It’s a turning point in the film as we finally see him as more than the dirtbag we originally thought. It also leads to Len’s rant – right in Max’s face – about the roots of rock and roll, and how a privileged, uptight young man couldn’t possibly have the soul and spirit required to make a go of it.

Lessons are learned by all, and much enlightenment has occurred by film’s end. Of course, those doing the teaching and those doing the learning are a bit unconventional, as it’s Len who finally figures out solitude and loneliness may not be a worthy goal. It’s a wonderful first feature from the filmmakers and a top notch performance from Mr. Ifans.

watch the trailer:

 

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Posted by David Ferguson

A BIGGER SPLASH (2016)

June 5, 2016

a bigger splash Greetings again from the darkness. I’ve said before that she is such a fascinating actress that I would probably buy a ticket to watch Tilda Swinton just stand on stage. In her latest collaboration with director Luca Guadagnino (I Am Love, 2009), Ms. Swinton’s character remains mostly silent, save a few well placed whispers and one uncontrollable outburst, and she is certainly worth the price of that ticket.

Adding to the movie fun here is a script by David Kajganich adapted from Alain Paige’s story that was the basis for the 1969 film La Piscine. Ms. Swinton plays Marianne Lane, a glam rock singer (think 60’s-70’s David Bowie) who has gone on holiday to recover from throat surgery. She is accompanied by her photographer/filmmaker boyfriend Paul (Matthias Schoenaerts), and the couple has sought seclusion and serenity on the picturesque Italian island of Pantalleria in the Strait of Siciliy. They spend their time sunbathing (European style) and enjoying intimacy in the swimming pool at the stunning compound they have rented.

Of course it wouldn’t be much of a movie if things went according to plan. Blowing into town like the upcoming sirocco winds is Marianne’s former lover and former music producer Harry (Ralph Fiennes), along with his daughter Penelope (Dakota Johnson). Showing up uninvited adds to the palpable underlying tension – which only gets thicker as the layers are peeled back. In addition to the former relationship of Marianne and Harry, it turns out Harry and Paul were once close friends, and it’s only been in the last year that Harry found out Penelope is his daughter (and there’s even some doubt on this).

Fiennes’ Harry is the kind of annoying blow-hard we want to punch after about 5 minutes. He is unrelenting with his energy and motor-mouth approach to most every moment in life. In that same 5 minute span, we also figure out his not-so-subtle desire to win back Marianne. His Lolita-type daughter may or may not be part of his plan, but she surely has her own sights set on Paul. Over food, wine and swimming, we learn more and more backstory on each character, and it’s pretty obvious the beautiful bodies and faces are masking mountains of vulnerabilities and insecurities.

Ms. Swinton, despite her minimal dialogue, makes Marianne a captivating character – balancing the entitlement of a rock star with a desperate attempt to be normal. Mr. Schoenaerts brings his usual physicality and simmering emotional quiet to the role of Paul – a guy much less “together” than he would have us believe. Penelope is a good fit for Ms. Johnson, as she mostly lounges around the pool leering lustfully at Paul. But it’s Mr. Fiennes who rules the roost here with his appendage-flapping portrayal of the vulgar and vulnerable Harry – complete with Monty Python references, Mick Jagger dancing and au natural pool diving. It’s a different kind of role for Fiennes and one he clearly relishes.

It’s a film filled with lush visuals and fans (like me) of Francois Ozon’s 2003 Swimming Pool will recognize the stylings of cinematographer Yorick Le Saux. Beauty abounds: the setting, the water, the clothes, and the house. Things do get a bit clunky in the third act with a minor sub-plot involving Tunisian refugees. Fortunately that doesn’t negate the many good things here … including a terrific and creative soundtrack featuring a couple of deep cuts from the Rolling Stones, Nilsson’s “Jump into the Fire”, St. Vincent’s cover of “Emotional Rescue”, and even Robert Mitchum’s “Beauty is only Skin Deep”. It’s a stylish, ultra slow-burn emotional thriller that has a swimming pool shot somewhat reminiscent of the iconic one from Sunset Boulevard. If all of that is still not enough reason to buy that ticket … don’t forget about Ms. Swinton!

watch the trailer:

 

 

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Posted by David Ferguson

MAGGIE’S PLAN (2016)

June 2, 2016

maggies plan Greetings again from the darkness. A significant portion of Woody Allen’s film career has been projects that seem designed to appeal to (sometimes only) the New York intellectual sub-culture. You know the type … those who thrive on talking (incessantly) about all the things they know, often without really accomplishing anything themselves. They are the kind of people we usually laugh at, rather than with. Filmmaker Rebecca Miller appears ready to accept the passing of the Woody Allen baton, and at a minimum, her latest is heavily influenced by his comedic-brain food.

Ms. Miller casts perfectly for her first film in six plus years (The Secret Life of Pippa Lee, 2009). Greta Gerwig plays Maggie, whose ever-evolving “plan” is both the title and focus of the film. Ethan Hawke plays John, the middle-aged crisis guy who wants desperately to be showered with attention. Julianne Moore plays Georgette, John’s slightly odd and brilliant wife, and mother to their two kids. Other key players include Travis Fimmel as Guy, a pickle entrepreneur and the center piece to Maggie’s master plan; Bill Hader and Maya Rudolph as friends and confidants of Maggie; and Wallace Shawn, always a treat on screen.

The story starts out pretty simple, and then gets complicated, and then kind of loses focus before ending just right. Perpetually whining Maggie has admittedly given up on ever finding the kind of true love that results in a happy family. Because of this, she has recruited former schoolmate and math whiz and pickle dude Guy to supply the missing link for her artificial insemination. This leads to one of film’s rare cheap laughs and one that not even the quirky Gerwig can pull off. A payroll mishap brings Maggie and aspiring novelist John (a ‘ficto-critical anthropologist’ by trade) together, and her willingness to read his writing and offer some support, is all it takes to finish off John’s slowly disintegrating marriage to Georgette (Ms. Moore dusting off the Euro accent she used in The Big Lebowski).

Writer/director Miller is the daughter of famed playwright Arthur Miller, who wrote Death of a Salesman and was once married to Marilyn Monroe (after Joe DiMaggio). She also directed The Ballad of Jack and Rose, which starred her husband, Oscar winner Daniel Day-Lewis. Much of her latest film feels contrived and over-written … as if every scene carries the burden of generating a laugh out loud moment. It shouldn’t be too surprising that the ultra talented Julianne Moore creates the most interesting character, though unfortunately, she has the least amount of screen time among the three leads. It’s good for a few laughs, as well as some cringing … and an ending that actually works.

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Posted by David Ferguson

ME BEFORE YOU (2016)

June 2, 2016

me before you Greetings again from the darkness. Who doesn’t enjoy a good cry in a dark movie theatre? The first feature film from director Thea Sharrock is taken directly from the tear-jerker novel by Jojo Meyes (who also wrote the screenplay). Although I try to avoid using the term very often, it’s very much a by-the-numbers chick flick … complete with the heart-of-gold working class girl trying her best to “save” the handsome rich guy to whom life has dealt a tough hand. For fans of the book and the genre, it should deliver the desired effect … the studio even provided movie logo tissues for the screening.

For most of us, the effectiveness of this type of movie comes down to the characters. Luisa is the effervescent working class girl hired as a personal assistant to the extremely wealthy quadriplegic Will Traynor. Emilia Clarke (“Game of Thrones”) does everything in her power to make us (and Will Traynor) like Luisa. To describe her as optimistic is like saying Eric Clapton can play guitar. Calling her perky would be like saying Donald Trump has hair. Both statements are true, but hardly capture the totality of reality. In stark contrast, Sam Claflin (The Hunger Games: Mockingjay) purposefully underplays Will … the one time cliff-diving, James Bond birthday video type now confined to a wheelchair.

Lu is a constant toothy smile complemented by expressive and active eyebrows that somehow overshadow her chatty bedside manner, and kaleidoscopic and geometric clothes and shoes … all encompassed with an ever-bouncy step that would make Tigger envious. Lu mostly shares the screen with Will and the personal nurse and therapist Nathan, played by Stephen Peacocke. The camera certainly loves all three of these faces, and director Sharrock wisely adds Janet McTeer and Charles Dance as Will’s parents. They bring a regal presence to what otherwise could have played a bit too cutesy.

Despite the heavy dose of “awww”, the story deserves credit for touching on the “right to die” or “dying with dignity” debate. While those closest to Will selfishly proclaim they don’t understand his plan to head to Switzerland, it’s Nathan who says it best … ‘who am I to judge’. While a full on discussion of the topic would be out of place here, the film does a nice job of not shying away from the process.

Other recognizable faces in the cast include Jenna Coleman (“Doctor Who”) as Lu’s sister and confidante, and Matthew Lewis (Harry Potter series) as Lu’s fitness freak boyfriend who isn’t very understanding … of either Lu or her job. There’s also an odd but welcome wedding cameo from Joanna Lumley. My biggest issue with the story is that I just never understood how or when Lu fell so deeply in love with Will. Sure, I get the appeal of the castle, the concertos, and the tropical vacations, but where was the real personal connection? Was it simply that she thought she could charm Will into changing his mind on the big decision?  That’s not really love. Another piece that’s difficult to take … the numerous musical interludes seemingly designed to make sure viewers are in the proper state of melancholy. There was another segment that I found not just ironic, but actually annoying; however, discussion of the “Live boldly” advice would give away the film’s ending … something I’m not sure even matters since it’s made pretty clear throughout, but it still goes against my movie code.

watch the trailer:

 

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Posted by David Ferguson

THE NICE GUYS (2016)

May 29, 2016

nice guys Greetings again from the darkness. Shane Black sold his first screenplay at a very early age which led him to become something of a phenom with the success of that film, Lethal Weapon (1987). Later, he disappeared from Hollywood for about 10 years before resurfacing in 2005 by directing his own terrific script with the immensely entertaining Kiss Kiss Bang Bang (my favorite movie of that year), and then hitting big-budget time with his script for Iron Man 3. This time, Mr. Black (directing and co-writing with Anthony Bagarozzi) returns to the detective-farcical-comedy-mystery-action genre and even adds an element of being a 1970’s period piece.

Black’s rapid-fire wise-cracks were perfect fits for Mel Gibson and Robert Downey Jr, and for this project he’s working with Ryan Gosling and Russell Crowe … both fine actors, though neither known for their comedic work. What’s clear from the beginning of the film is that both Gosling and Crowe are fully committed to the material and their respective characters. Gosling plays a boozy Private Detective and single dad who just can’t quite get things right, while Crowe plays a hired-hand bruise type – think of his Bud White in L.A. Confidential (1997), only with an extra 50 pounds (or did he borrow Eddie Murphy’s Norbit fat suit?) and a lot of miles. These two damaged boys play off each other very well, and with Black’s dialogue and visual gags, the film provides a good number of laugh out loud moments … more silly than the sophomoric humor that’s so pervasive at multiplexes these days.

Of course for comedy to really click, there needs to be some type of story to follow. In the opening scene a young boy (Ty Simpkins) watches as a car slams through his house, culminating with a “model/actress” named Misty Mountains meeting a not-so-pleasant ending. We then learn that Gosling’s Holland has been hired to find Amelia (Margaret Qualley), who bears an uncanny resemblance to Ms. Mountains – with two significant exceptions. Simultaneously, Amelia has hired Crowe’s Jackson to convince Holland to stop searching for her. Soon enough, Holland and Jackson are working together on the “case” that mixes in the Auto industry (Big 3), Porn industry, Justice Department (government conspiracies), environmental protestors, Killer Bees, LA parties, LA smog, The Waltons (John Boy), The Rockford Files, Detroit, and Richard Nixon … all hot topics in this 1977 era.

As much as the story is needed, it really doesn’t much matter. This is a movie of moments … some of them featuring funny words, while others focus on pretty astute physical comedy. Gosling (and his stunt double) provides some pretty impressive gags as he is bounced and slammed around for most of the run time. The surprising heart of the film … and moral core … is Holland’s daughter Holly played by Angourie Rice. Despite the title, she is really the only “nice guy” in the whole film, and her good-hearted nature keeps us rooting for Gosling and Crowe, despite their flaws.

Other support work comes from Matt Bomer as a “John Boy” hit man, Keith David, Lois Smith, Yaya DaCosta (quick, name another Yaya), Beau Knapp (as the toothy Blueface), Jack Kilmer (Val’s son as a “projectionalist”), and Kim Basinger (re-teaming with her LA Confidential co-star, Crowe). Also playing a significant role are the mid-to-late 1970’s vehicles, the period music and houses and décor that puts us right in the moment, and the clothes and hairstyles that are sure to inspire a chuckle or two.

Fans of Lethal Weapon and Kiss Kiss Bang Bang will surely find plenty of laughter here … despite one of the worst trailers in recent memory and even if the film is lacking the one thing it advertises – nice guys.

watch the trailer:

 

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Posted by David Ferguson

DHEEPAN (France, 2015)

May 25, 2016

Dallas International Film Festival 2016

dheepan Greetings again from the darkness. Wars exist in many different forms. Some are over contested international boundaries, others are religious conflicts, while others are more personal and intimate. The stories of many refugees could be described as fleeing one type of war only to end up fighting a different kind. Such is the story of Dheepan.

Jacques Audiard is one of the most exciting filmmakers working today. A Prophet (2009) and Rust and Bone (2012) are both compelling films, and though his latest may not be quite at that level, it’s still full of intensity and personal drama. Mr. Audiard co-wrote the screenplay with Thomas Bidegain and Noe Dibre, and some of it is based on the remarkable real life story of lead actor Jesuthasan Antonythasan.

Dheepan is a Tamli soldier who is so desperate to flee Sri Lanka that he teams with a woman and young girl he doesn’t know to form what looks like a real family. By using passports of people killed during the war, the pre-fab family of three is issued visas to live in France. Dheepan gets a job as the caretaker for an apartment complex riddled with crime, violence and drugs – and learns to keep his mouth shut and eyes open.

It’s fascinating to watch these three people navigate their new life as they struggle with the language and a new culture. There are flashes of real family problems, but also the awkwardness of three whose only true bond is their escape from their previous life. Living in such close proximity means their true colors are bound to shine through no matter how much effort goes into the family façade.

Jesuthasan Antonythasan (Dheepan) and Kalieaswari Srinivasan (as Yalini his wife) are both excellent and powerful in their roles despite being so inexperienced as actors. Their exchanges are believable, as is their disparate approach to the future. Ms. Srinivasan is especially strong in her scenes with local thug Brahim, played by Vincent Rottiers.  The two have such an unusual connection … alternating between warm and frightening.

Some have found fault with the final action sequence, but it’s such a fitting turn of events given Dheepan’s past … plus the camera work is outstanding. The film won the Palme d’Or at the 2015 Cannes Film Festival, and it’s another notch in the belt of filmmaker Jacques Audiard. It’s also a reminder that we can never really escape the past.

watch the trailer:

 

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Posted by David Ferguson

LOVE & FRIENDSHIP (2016)

May 23, 2016

love & friendship Greetings again from the darkness. Jane Austen ROCKS! Sure, that might be a slightly exaggerated description of the writer who passed away almost two hundred years ago, and is known for such subtle and nuanced work as “Sense and Sensibility” and “Emma”. But it’s difficult to argue the fact that Ms. Austen’s 2016 is off to an impressive start. First came Burr Steers’ highly creative and entertaining Pride and Prejudice and Zombies, and now Whit Stillman delivers a cracking version of her (apparently) unfinished novella “Lady Susan”.

Thanks to the standout performance from Kate Beckinsale, and the manner in which words from Austen and Stillman go zipping by (sometimes honestly, sometimes not), this is one fun and briskly-paced romp … more descriptions not typically associated with the prim Ms. Austen. Ms. Beckinsale as Lady Susan Vernon flashes spunk and comedic timing that we have not previously seen from her. She fits marvelously in the dress of the late 1700’s, while packing a diabolical and manipulative nature more often displayed in contemporary settings.

The supporting cast seems to be having a marvelous time. Chloe Sevigny is Alicia, Lady Susan’s confidant and gossip buddy … and one whose husband (Stephen Fry) continually threatens to ship back to Connecticut (as if it were the coal mines or outback). Emma Greenwell is Catherine DeCourcy Vernon, adversary and sister-in-law to Lady Susan, and Mofryd Clark plays Frederica, Susan’s somewhat mousy and inconvenient daughter.

Though the women are standouts here, the men hold their own. Xavier Samuel is Reginald DeCourcy, the somewhat naïve and susceptible-to-advances-from-Susan young man, and Tom Bennett manages to steal most every scene as the quite silly and funny (and wealthy) Sir James Martin. Adding their own special touches are James Fleet and Jemma Redgrave as Sir Reginald DeCourcy and Lady DeCourcy, respectively; and Jenn Murray as Lord Manwaring … one of three suitors to Lady Susan.

This spoof/parody will strike a chord for anyone accustomed to the uptight nature of most period pieces, as well as the importance of status, decorum and the corresponding insecurities (a weakness the cunning Lady Susan will most certainly seize upon). Mr. Stillman (Damsels in Distress, The Last Days of Disco) is an immensely talented writer, and certainly a welcome complement Ms. Austen’s posthumously published work.  It’s a deliciously funny and intricate story that features such quips of gold as “Facts are horrible things.” Welcome to the zany verbal barrages of Lady Susan, Whit Stillman and Jane Austen. Yep … zany and Jane Austen in the same sentence.  I told you she ROCKS!

watch the trailer:

 

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Posted by David Ferguson

MONEY MONSTER (2016)

May 15, 2016

Money Monster Greetings again from the darkness. Adam McKay and Michael Lewis sought to educate us on the corruption and deceit within the marrow of the financial world in The Big Short. Director Jodie Foster and three writers (Jim Kouf, Alan DiFiore, Jamie Linden) scale things way back to show the effects on a single, working class man … and how Wall Street and the media conspire to make it hard on us little guys.

George Clooney stars as Lee Gates, a Jim Cramer type cable news financial guru … the kind of media star who makes an Apollo Creed style entrance (complete with “dancing”) for each segment. Julia Roberts plays Patty, the show’s ultra-talented producer, and the one who keeps Gates and the show from flying off the rails. It’s just another typically hectic day in the studio, when the show is abruptly interrupted by a man who charges the stage pointing a gun at Gates. Kyle (Jack O’Connell, Unbroken) has a few things to get off his chest, and makes it clear that he blames Gates for a recent financial loss … and he expects some answers.

It turns out that Gates had presented a recent investment as a sure thing, and Kyle believed him. When that company lost $800 million overnight, Kyle’s loss was his $60,000 nest egg. Kyle represents the work-class folks who are simply fed up with the lies and manipulation for which the media and Wall Street seeming conspire on a regular basis.

It’s Jodie Foster’s first directorial outing since The Beaver (2011), and she seems at home with a straight-forward hostage-for-admission story. Created for a mass audience (no segment or issue goes too deep), there are snippets of Clooney and Roberts humor that will satisfy their fans. The three most interesting characters are the gun-wielding, end-of-the rope Kyle; his pissed-with-a-twist girlfriend played by Emily Meade (who provides the film a lift when it’s needed); and Caitriona Balfe as Diane Lester, the communications officer for the evil corporation at the heart of the swindle.

As with so many things these days, the hostage ordeal plays out on TV and captures the limited attention span of average Americans … heck, the film even references the OJ Simpson event. Of course, this film isn’t an instigator, but rather an exhibitor – a mirror of the times. Once the spectacle ends, everyone returns to their normal activities.

Since this thriller really only offers a few moments of real suspense, viewers might have more fun spotting and identifying the multitude of cable TV faces sprinkled throughout. The 1970’s were the era for extraordinary conspiracy movies, and this one is less Network or Chinatown, and more like Phone Booth or John Q. ‘Forget it Kyle. It’s Wall Street (and cable news).’

watch the trailer:

 

 

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Posted by David Ferguson

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