SING STREET (2016)

April 20, 2016

DALLAS INTERNATIONAL FILM FESTIVAL 2016

sing street Greetings again from the darkness. The vast majority of 1980’s music usually inspires nothing but groans and an immediate change of the radio channel from me. Yet writer/director John Carney masterfully captured and held my attention with this crowd-pleasing story that leans heavily on the tunes from that era.

Mr. Carney was also responsible for two previous music-centric movies, Once (2007) and Begin Again (2013). He is an exceptional story teller who puts music at the center, but avoids the label of “musical” by making it about people, rather than notes.

It’s 1985 in economically depressed Dublin, and a strong opening sequence introduces us to Connor (Ferdia Walsh-Peelo) as his ever-arguing parents (Aidan Gillen, Maria Doyle Kennedy) inform him of the economic necessity of pulling him out of prep school and enrolling him into a much tougher environment … one that comes with bullies and hard-nosed teachers/clergy.

Soon enough Connor is hanging with the misfits and inviting an enchanting “older” girl to star in his band’s video. She agrees, and wide-eyed Connor quickly sets out to form a band that didn’t previously exist.

There are two interesting and fully realized relationships that make this movie click: Connor and the enchanting Raphina (Lucy Boynton), and Connor and his older brother Brendon (Jack Reynor). Brendan is Connor’s life mentor and music guru. They are quick to jump on the new world of music videos, and it’s a real hoot to watch Connor emulate the style and fashion of Duran, Duran, The Cure, etc.

It’s fascinating to note that Connor, while a pretty talented lyricist and singer, doesn’t really seem to be in love with the music except as a means to an end … a way to get the girl. That said, the real message here is that while teenagers often feel like they can’t fix the outside world (parents, teachers, bullies), they can fix themselves by finding a passion in life (the movie uses the term vocation).

It’s hard not to notice the influence of such filmmakers as John Hughes and Cameron Crowe, and Carney certainly brings his touch of romanticism. Plus, one must appreciate any movie that delivers an original song as catchy as “Drive it like you Stole it”, while also taking a shot at Phil Collins. It’s a funny and sweet movie that should really catch on through positive word of mouth.

watch the trailer:

 

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Posted by David Ferguson

TALE OF TALES (Italy, 2016)

April 20, 2016

tale of tales Greetings again from the darkness. Fairy tales have long been a fruitful source for movie material. Some, like Disney productions, land gently on the family/children end of the scale; while others like the Brothers Grimm material are much darker and adult in nature. And now, along comes director Matteo Garrone and his blending of three stories loosely based on the 17th century tales published by Giambattista Basile … and “black comedy” falls short as a description.

Mr. Garrone is best known for his chilling look at an Italian crime family in the award winning Gomorrah (2008), so a trilogy of demented monarchial fantasies may seem a bit outside his comfort zone … but grab ahold of your crown jewels and be ready for just about anything.

A very strong opening leads us into the first story about a King (John C Reilly) and Queen (Salma Hayek) who are by no one’s definition, the perfect couple. The Queen’s inability to have children leads her to strike a deal with a Faustian seer who promises a baby to the royal couple. The only catch is that the King must kill a sea monster, and the Queen must eat its heart after it’s properly prepared by a virgin. Yep, it’s pretty dark and pretty odd. Of course, as with all actions, there are consequences (albino twins of different mothers) … some of which are not so wonderful.

The second story involves a lecherous King (Vincent Cassel) who falls in love with a local woman based solely on her singing voice. Much deceit follows and the actions of two sisters (played by 3 actresses – Hayley Carmichael, Stacy Martin, Shirley Henderson) and some supernatural aging products lead to a twisty story of romance that can’t possibly end well for anyone involved.

The third of our 3-headed story is the strangest of all, as a King (Toby Jones) nurtures a pet flea until it grows to behemoth size. Yes, a pet flea would be considered unusual, but eclipsing even that in uniqueness is the King’s willingness to offer the hand of his daughter (Bebe Cave) in marriage to a frightening ogre who lives a solitary life in the mountains.

These three stories are interwoven so that we are bounced from one to another with little warning … which seems only fitting given the material. Knowing the theme of the three stories does not prepare one for the details – neither the comedy, nor the dramatic turns. All actors approach the material with deadpan seriousness which adds to the feeling of a Grimm Brothers and Monty Python mash-up.

Alexandre Desplat provides the perfect score for this oddity, though the audience may be limited to those who can appreciate grotesque sequences assembled with the darkest of comedy. The moral to these stories may be difficult to quantify; however, it’s a reminder that actions beget consequences no matter the time period.

watch the trailer:

 

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Posted by David Ferguson

OCCUPY, TEXAS (2016)

April 17, 2016

Dallas International Film Festival 2016

occupy texas Greetings again from the darkness. Can you go home again? The answer is usually complicated and often a factor of one’s own choices. What’s clear is that those choices leave a wide range of emotions in the wake. Writer Gene Gallerano and director Jeff Barry share the story of Beau Baker, a young man who 7 years ago, walked away from his comfortable suburban lifestyle and a bright future as a lawyer.

When first we meet Beau, he is sleeping on the streets of New York … awakened by a gentle foot nudge from his Uncle Nolan (Reed Birney, VP on “House of Cards”). Beau reluctantly agrees to return home when he is informed that his parents have recently died in a car crash. See, after Beau left home, he joined the Occupy Wall Street movement, and just never returned home after the movement fizzled.

Once back in Texas, Beau is informed that he is the executor of his parent’s estate, as well as the legal guardian for his two teenage sisters … much to the dismay of his Type-A Aunt Uma (Peri Gilpin). 17 year old Claire (Lorelei Linklater, Boyhood) and 13 year old Arden (newcomer Catherine Elvir) have mixed reactions to the reappearance of a brother they barely ever knew. Claire is angry and bitter, while Arden takes to Beau’s carefree ways and avoidance of responsibility.

The film was shot in Dallas, and offers peeks at the historic Texas Theatre, the Margaret Hunt Bridge, and St. John’s school. There is also a glimpse of the cultural clash between New York and Dallas, and it’s provided through Beau’s wardrobe and speech. Whether he can fit in with old acquaintances (including his old girlfriend Nikki Moore), and kick his carefree lifestyle to become a true role model for his sisters is the core of the film.

Writer Gene Gallerano also stars as Beau Baker, and does a nice job walking the line between selfish slacker and grown-up. The road from homeless street person to legal guardian doesn’t come with a handbook, and Beau makes most every mistake possible. On the bright side, we can tell pretty early on where the character and story is headed and that it’s going to be a feel good story of redemption – and overcoming the challenges that family brings. There are a couple of other interesting characters courtesy of the rarely-seen-these-days Janine Turner (as a bored housewife drawn to Beau), and Paul Benjamin (as a wise and generous neighbor). The inconsistent sound mix doesn’t affect our connection to Beau and especially Arden (in a terrific first on screen performance from young Miss Elvir). We really want what’s left of this family to come together.

watch the trailer:

 

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Posted by David Ferguson

ARIANNA (2016)

April 17, 2016

Dallas International Film Festival 2016

arianna Greetings again from the darkness. Many of us while away the time pondering the meaning of life. We have that luxury, as most of us have already traveled the road of self-discovery … a road that is a bit more twisty and windy for others. The opening dialogue of first time director Carlo Lavagna’s movie takes away any possibility of a trendy or Hollywood twist. The titular character discloses that she has been born three times: once as a boy, once as a girl, and finally as understanding who she is.

As kids, we are so dependent on and trusting of our parents. Of course this is out of necessity and naivety, and as we mature, we learn our parents are merely human beings – hopefully acting in our best interest. We first meet Arianna (Ondina Quadri) as a 19 year old girl returning to the old family vacation home with her parents for the first time since she was 3 years old. Arianna is on hormone therapy due to her body being slow to develop (small breasts, no menstrual cycle). She has been under the care of a gynecologist arranged by her doctor-father, and has grown increasingly frustrated at her lack of progress into womanhood.

Arianna wonders why her mother acts so odd, and is taken aback when a neighbor asks where her brother is. All of this occurs with a picturesque Italian backdrop of greenery, rain and swimming holes. As she slowly unravels the near-lifelong mystery, we as viewers experience a constant feeling of dread for her … though her story is handled with dignity and empathy throughout. Arianna tries so hard to be “normal”, and even partially excuses her parents for acting in what they thought was her best interest.

First time actor Ondina Quadri is terrific in the lead role. She looks a bit like a young Joaquin Phoenix in Parenthood, and is totally believable as someone trying to understand who they are, and then come to grips with being placed half way between the two socially accepted genders. It’s a peek into the biological condition known as intersex, as well as the correlating theory of gender-assignment. Mostly it’s a touching story of a 19 year old that allows us to feel her frustration, and it’s presented in a beautifully paced manner by a talented new filmmaker.

 

 

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Posted by David Ferguson

SKY (2016)

April 16, 2016

sky Greetings again from the darkness. Remember that time you bashed your lover in the head with a lamp, left them bleeding on the floor, and then drove around for 3 days before turning yourself in to the police, confessing to what you assumed was a murder? And then remember how emotionally free you felt when it was discovered that not only was he/she alive, but they didn’t even blame you for the head injuries? Well that’s exactly what Diane Kruger’s character, Romy, goes through during the first part of the film.

Romy and her husband Richard (Gilles Lellouche) have travelled to the southwestern United States from their home in Paris. It’s pretty clear that their hope is that this vacation will reignite the passion they once had and break them out of their marital slump. A few too many drinks at the bar leads to some unwanted amorous advances, and in the heat of the moment, Romy starts whacking Richard in the head with the lamp.

Once she realizes that he survived and she’s not going to spend her life in prison for murder, she also decides that she’s not going to spend the rest of her life in a dead end marriage – a different kind of prison. Instead, she sets off on a journey of self-discovery. She even mentions how free she is, and can choose her own path.

Her self-discover phase takes her to Las Vegas – courtesy of a truck driver played by Lou Diamond Phillips. Within a short period of time, she has befriended a lady (Laurene Landon) who wears a bunny suit in order to pose for pics with tourists. Romy borrows the bunny suit and meets a mysterious cowboy (Norman Reedus) named Diego. It’s the relationship between Romy and Diego that dominates the final 2/3 of the film, and though they both create interesting characters, it’s a bit of a letdown after the story’s set up with the French husband.

Lena Dunham has an odd turn as Diego’s sister-in-law, and there is a dose of spirituality from Native Americans, but mostly this is Diane Kruger’s movie. She seems to be enjoying the wide range of emotions while showing off her talents, and she keeps us interested enough to keep watching … even when the pace slows to a crawl.

watch the trailer:

 

 

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Posted by David Ferguson

MILES AHEAD (2016)

April 15, 2016

miles ahead Greetings again from the darkness. What would rate as the bigger challenge: defining jazz or describing the life of Miles Davis? In true “passion project” mode, Don Cheadle not only portrays the iconic trumpeter, but also directs, co-writes and co-produces. Cheadle’s tribute to The Prince of Darkness is as open to interpretation as the hundreds of songs from Davis’ recordings over thirty plus years.

Having stated in numerous interviews that he had no interest in the usual “cradle-to-grave” biopic, Cheadle’s odd blend of fact, fiction and hallucination are meant to capture the essence of Miles Davis, rather than the life and times of the man. Guns, drugs, music, girls, and art are all present throughout this trippy trip of a movie that plays like an impressionistic painting, and not a portrait.

The bulk of the film is spent on Miles Davis during his self-imposed six year drug-fueled hiatus in the 1970’s when he secluded himself in Howard Hughes fashion. There is an odd and ill-fitting plot involving the “secret” master tapes that Davis has recorded while waiting for his manager (Michael Stuhlbarg as Harper Hamilton) to pay him the money he is owed. Mixed in is a “Rolling Stone” writer named Dave Brill (Ewan McGregor) desperately trying to get an interview with Miles and listen to the tapes. This mad caper-ish core benefits greatly from the quick cuts to the past … especially those featuring Frances Taylor (Emayatzy Corinealdi) as Miles’ beautiful, talented and supportive wife.

Of course, we shouldn’t expect linear story-telling from a man whose life was anything but linear. After all, we are focused on the man who claimed his music was not “jazz”, but rather “Social Music” … and that “it takes a long time to play like yourself”. The car chases and gunfights might seem out of place, but do capture the essence of a man fueled by drugs and a possible (temporary) loss of his creative genius. Perhaps, as the movie suggests, Miles was remorseful for how he treated Frances. Or maybe it was simply the pressure of being Miles Davis …. The coolest of Cool Jazz.

Mr. Cheadle does a nice job in portraying Davis, and is spot on in the trademark raspy whisper which Miles was known for (the after-effects of a larynx operation in the 1950’s). Ms. Corinealdi (to appear in the new “Roots” project later this year) is outstanding as Frances Taylor, and is the one character we latch on to in hopes of maintaining our bearings throughout.

Taking its title from a 1957 Miles Davis album, the movie offers a glimpse into the mind of a musical genius who didn’t always fit into “proper” society, and would be the perfect pairing for a head-scratching trumpeter double-bill with the recent Born to be Blue, a look at Chet Baker.

watch the trailer:

 

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Posted by David Ferguson

EVERYBODY WANTS SOME (2016)

April 10, 2016

Everybody wants some Greetings again from the darkness. Richard Linklater’s now twenty-five plus years of filmmaking are loosely tied together with his constant desire to explore and observe how, within the confines of society, people connect with each other (or don’t). In what he has termed a “spiritual sequel” to his cult classic Dazed and Confused, the filmmaker takes us down memory lane to a college campus as the 1970’s devolved into the 1980’s.

Many of these characters and moments are undoubtedly snatched from Linklater’s own experiences as a college baseball player at Sam Houston State (after graduating from Bellaire High School). Linklater knows these guys. Heck, he WAS one of these guys! The cinematic kinship goes beyond Dazed and Confused, and influence can be seen as the follow-up to his Boyhood film, with some flavor from Animal House and a dose of Bull Durham.

The film opens with Jake (Blake Jenner) driving his 442 muscle car up to the baseball house while “My Sharona” from The Knack blasts from his car stereo. What follows is a look at the behind the scenes tribal nature of a sports team, and how that blends with the predictable manner in which 18-21 year old boys handle a sudden shot of freedom. Conversation and activities center on three things: baseball, girls, and beer … with priorities shifting given the circumstances of the moment. What’s never missing is the ultra-competitiveness of these individuals raised to be the best. Whether it’s nerf basketball in the living room, foosball at the bar, or flicking knuckles, the goal of that point in time is to be better than the other guy … even a friendly game of ping pong turns hyper-tense as it nears game point.

Linklater has assembled a terrific cast that not only succeeds in capturing the time period, but also the essence of the age group. Some of the faces will be familiar, and each character fits nicely into the profile. Tyler Hoechlin (Tom Hanks’ son in Road To Perdition) is team captain McReynolds, Wyatt Russell (son of Kurt and Goldie) plays elder statesman and team spiritualist Willoughby, Juston Street (former Longhorn player) plays the jacked-up overly intense freshman pitcher, J Quinton Johnson is the sometimes rational second baseman, and Glen Powell is a real standout as the smooth-talking and philosophical Finnegan … also a master of pranks. Despite the ever-present quest for girls, Zoey Deutch’s Beverly is the only female character with much screen time, and she makes the best of it as a smart, ambitious love interest for young Jake.

I’ve always believed that the music of our youth goes a long way in defining each generation. Linklater seems to agree (the soundtrack is spot on) as this group is bounced between the fading days of disco, the sterile and soulless transition to Urban Cowboy Country music, and the desperate pleas of new edge Punk Rock. Within the 3 days we are with the guys, they take their athlete swagger to each venue type, and even mix in a party thrown by Beverly’s “artsy-fartsy” group. Figuring out where one fits is a rite of passage not to be missed.

Linklater ensures that our tight knit teammates fill our ears with an endless stream of quips, wise-cracks and put-downs, each designed to register dominance – if only for the briefest moment. We even get a sequence featuring the ballplayers actually playing ball, and though their tone shits once on the field, the personalities remain evident. In addition to adding “f***withery” to our vocabulary, the production design is brilliant and captivating all by itself. The album and book covers, cars (a Gremlin sighting), stereo equipment and costumes all provide the throwback feel necessary for the film. Though it lacks any real plot, and feels meandering (just like its characters), Linklater provides the best insight yet into the driving forces of young male primates of 1980. It’s not always pretty or something of which to be proud, but … that’s what I’m talking about!

watch the trailer:

 

 

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Posted by David Ferguson

TOO LATE (2016)

April 7, 2016

too late Greetings again from the darkness. The first feature film from writer/director Dennis Hauck has a number of elements that are appealing to movie lovers on the lookout for something a bit outside the box. It’s the type of film that would be a festival favorite, as it provides no shortage of “talking points” for discussion afterwards.

Of course, casting John Hawkes is always a good start. Here he plays a Private Investigator named Sampson. The story is presented in 5 segments – each filmed in one extended shot. Oh, and it’s not presented in sequential order, so some assembly is required. The real end to the story is not the same as the ending of the movie, and the beginning of the story is actually in the middle of the movie. Confused yet? Well a loss of equilibrium is what makes this one so much fun to watch. Characters and story lines are intertwined – some accidentally, some secretly, and some surprisingly.

Hawkes appears in each of the five segments, and sprinkled throughout you will find such recognizable faces as Robert Forster, Jeff Fahey, Natalie Zea, Joanna Cassidy, Crystal Reed, Dash Mihok, Rider Strong, Vail Bloom, Sydney Tamilia Poitier and singer Sally Jaye. A strip club, the Hollywood hills, a Park Ranger, a suicide, and multiple murders all are key pieces to the puzzle … and none are presented exactly as we would expect.

With an unpolished 1970’s look and feel, the film offers a touch of Tarantino (including some of the actors who have worked with him), but mostly the vibe is refreshingly throwback. Even the music … Joe Tex, Cowboy Junkies, etc … is a bit offbeat, and of course, any movie that references Genevieve Bujold and Choose Me deserves a special place in my heart. It may not be the typically structured PI murder mystery that we have come to expect, but an unusual approach and the performance of Hawkes, makes this one to see.

watch the trailer:

 

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Posted by David Ferguson

THE BOSS (2016)

April 7, 2016

the boss Greetings again from the darkness. Movie profanity and crude humor are best used selectively, and certainly not as a comedy crutch. Melissa McCarthy has not built her career on subtlety, but even for her standards, this latest comes across as a lazy effort with missed opportunities for both laughs and a message.

Ms. McCarthy re-teams with those responsible for Tammy (2014), including her husband writer/director Ben Falcone and co-writer Steve Mallory. Here she plays Michelle Darnell, an egotistical hyped-up business tycoon with no sense of integrity or humanity … constantly wearing an odd turtleneck. Somehow the filmmakers thought it a good idea to explain this lack of soul showing a young Michelle being continually “returned” to her orphanage (run by a nun played by Margo Martindale).

When Michelle’s business rival (and former business associate and former lover) Renault/Ron (Peter Dinklage) turns her into the SEC for insider trading, the correlations with Martha Stewart become impossible to ignore. There is even an acknowledgment of this by McCarthy’s character. Once released from white collar prison, Michelle hits rock bottom and ends up sleeping on her former assistant’s sofa. Kristen Bell is Claire, the assistant that Michelle once dumped on and now crashes with. Ms. Bell is mostly relegated to “straight man” to McCarthy’s string of lame punchlines.

In the spirit of exaggeration in lieu of creativity, three scenes in particular stand out: the street fight between rival scout troops, a ridiculous breast grope-off with McCarthy and Bell, and a clumsily staged sword fight between McCarthy and Dinklage. The missed opportunity to have a point about girls in business, and stooping to schmaltz with the Michelle family story are every bit as disappointing as the mostly unfunny and constant use of profanity-laced insults. Saying “suck his d***”over and over in one scene does not make it funny … in fact, it’s a bit sad.

Exacerbating the frustration is the misuse and underuse of such talents as Cecily Strong, Kristen Schaal, Tyler Labine, and Kathy Bates. Ella Anderson as Claire’s daughter does come across as a real kid, and she’s part of the best scenes in the movie. Somehow a movie that (finally) calls out the Girl Scouts on their unfair-to-girls business model, manages to disappoint on every other front.

watch the trailer:

 

 

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Posted by David Ferguson

BORN TO BE BLUE (2016)

April 6, 2016

born to be blue Greetings again from the darkness. Most biopics aim for historical accuracy with only the occasional stretching of facts for dramatic effect. Within the past couple of weeks, I’ve seen two that take a much different approach … fictionalized versions of jazz icons – legendary trumpeters Miles Davis (Miles Ahead) and Chet Baker. Writer/director Robert Budreau expands on his 2009 short film to deliver a feature length look at the talented and troubled Baker … with a huge assist from Ethan Hawke.

The film begins in 1966 with Baker locked up in an Italian jail cell. Bailed out by a filmmaker who wants Baker to star in his own life story, a flash back to 1954 allows us to see Baker at his musical peak. As he heads into a gig, he asks an autograph seeker “Who do you like best, me or Miles Davis?” The question could be arrogance when asked by another artist, but it’s our first insight into the insecurity that Baker struggled with his entire life. His desire to be liked sometimes conflicted with his goal to be great. But like the story of so many musical geniuses, it was the drug abuse that continually sabotaged the talent.

Carmen Ejogo (Coretta Scott King in Selma) plays Jane, a fictionalized blend of Baker’s lovers through the years. The two of them are good together, though she is as much a caretaker as a lover … keeping him on track and nursing him through the (many) tough times. Baker received a savage beating that cost him his front teeth and ability to play the trumpet for years. The movie presents the beating as drug-related, but history is unclear on the matter. Still, it’s painful and brutal to watch Baker bleed for his art.

Baker is credited as the inspiration of West Coast Swing, though it’s quite challenging to relate to yet another junkie musician – no matter how talented. He’s just not a very interesting guy as presented here. Talented, yes … but not very interesting. Additionally, none of Baker’s music is actually heard. It’s been reimagined, just like his life story.

Despite the issues, Ethan Hawke delivers what may be the best work of his career. He is tremendous and believable as both the talented jazz artist and the insecure drug addict. Director Budreau creates a dream-like atmosphere at times, which adds to the “is it real” style. The 1988 Oscar nominated documentary Let’s Get Lost is probably a better source for Baker’s life story, but Budreau’s take does capture the man’s struggles.

watch the trailer:

 

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Posted by David Ferguson

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