THE CHOICE (2016)

February 4, 2016

the choice Greetings again from the darkness. When the word formulaic is used to describe a movie or book, it’s typically meant as a disparagement. We must admit, however, that if the formula works, it only makes sense (and dollars) to stick with it. Most Hollywood blockbuster franchises are built around a basic formula – superheroes, romantic-comedies, alien invasions, etc. Author Nicholas Sparks (The Notebook) has taken his tragic-romance novel formula and turned it into big screen gold. This is the eleventh film developed from his writing, and it’s likely to be another successful entry into the Sparks canon.

Director Ross Katz (Adult Beginners, 2015) is at the helm of the screenplay by Bryan Sipe (upcoming Demolition) and many of the familiar Sparks features are present. First off, the key players are all exceedingly attractive – Ralph Lauren model attractive. Secondly, there is a will they/won’t they romance that will of course happen and then may fall apart, but probably won’t. And third, some type of tragedy will occur that will kick off a stream of tears from a certain segment of the audience.

This one begins with a narrator’s humble-brag promising to tell us the “secret of life”. That narrator is Travis, played with an over-flowing abundance of southern charm by Benjamin Walker (Abraham Lincoln: Vampire Hunter, 2012). His main vices are a tendency to use “damn” to the point of overkill in most every conversation, and his natural ability to attract the ladies. Oh, and he has a rescue dog and a lake house and he is a veterinarian. See, in the Sparks universe, everyone is beautiful and successful. Travis has his eye on his new neighbor, who is pretending to be annoyed but mostly admits to playing a game of hard-to-get. This is Gabby (Teresa Palmer, Warm Bodies 2013), and she is beautiful and a doctor-to-be. Gabby’s current boyfriend is, of course, a handsome doctor. Ryan is played by Tom Welling (a bit heftier than his days as Clark Kent/Superman in “Smallville”).

The beautiful Maggie Grace (Taken) plays Travis’ sister, and Alexandra Daddario (San Andreas) plays Monica … she is not only beautiful, but she is also the nicest, most understanding and supportive “other” woman ever seen on screen. Tom Wilkinson plays Travis’ veterinarian dad, and Sharon Blackwood plays the wise-cracking and match-making assistant Cora. If that’s not enough beauty and success for you, we also get “puppies in a basket”!

Come for the chuckles and tears … just not twists or surprises. Fans of this genre will get exactly what they want. It’s a romantic fantasy set in the somewhat realistic world of doctors, veterinarians, and equestrians. The faces are perfect. The dialogue is snappy without being demanding (even in the God discussion).  Many scenes feature loyal dogs, or a serene lake, or the “moon and stars”. Even the difficult parts of life – raising kids, health issues, etc – are given the ‘yada, yada, yada’ treatment. While Travis claims over and over that Gabby “bothers him”, it’s the kind of bother that creates a cryfest in the theatre … whether things go right or wrong.  It’s also the reason that all eleven Sparks films feature a couple of lovers on the poster. Just remember, if that formula works ….

watch the trailer (or just guess how it ends):

 

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Posted by David Ferguson

POINT BLANK (1967) revisited

January 31, 2016

point blank Greetings again from the darkness. In the not-inconsequential sub-genre of 1960’s tough guy crime thrillers, it’s tough to beat this neo-noir that carries the lineage of a fine wine, but the taste of a stout beer. Familiar faces are everywhere, bullets fly, double-crossing is expected, Angie flaunts, and revenge is the mission.

While not a box office hit on its release in 1967, the film grew into a cult classic and is now appreciated as one of the era’s best. The set-up is certainly not too complicated. During a heist (filmed at Alcatraz), one of the gang members shoots another at “point blank” range and takes off with both the money and the poor guy’s wife. The shot guy survives and seeks his money ($93,000) and revenge on those who wronged him.

Sure it sounds simple and common, but it’s made special thanks to top notch work from the writer, director, cinematographer, composer and cast. The story (adapted by Alexander Jacobs, David Newhouse, Rafe Newhouse) is based on “The Hunter” from acclaimed crime novelist Donald Westlake (as Richard Stark). The book was also the source material for Mel Gibson’s 1999 movie Payback. Oscar nominated director John Boorman (Deliverance 1972, Hope and Glory 1987) works with Oscar nominated cinematographer Philip H Lathrop (Earthquake 1974) to create a stylish and gritty look and feel, while Oscar winning composer Johnny Mandel (The Sandpiper, MASH theme) adds just the right musical touch.

If that’s not enough for you, Lee Marvin commands attention as the revenge-obsessed tough guy who won’t get fooled again. To call Lee Marvin a tough guy seems redundant and unnecessary, as his screen presence oozed dominance. He was coming off an Oscar win for Cat Ballou and one of his best performances in The Dirty Dozen. In other words, he was an actor at the peak of his Hollywood power.

Joining Mr. Marvin on screen is a prestigious group led by Angie Dickinson and Carroll O’Connor. With a career that spanned more than 50 years, Ms. Dickinson starred in such films as the original Ocean’s 11 and Brian DePalma’s homage to Hitchcock, Dressed to Kill. Of course, she also starred in one of the biggest TV shows of the 1970’s “Police Woman”. And speaking of 1970’s TV, few were more jarring to the culture than “All in the Family” with Carroll O’Connor as Archie Bunker. In this film, Ms. Dickinson plays the sister of Marvin’s double-crossing wife and she gets to flail away in anger at him before the two fall into bed together … a terrific piece of editing. Mr. O’Connor plays Brewster, one of the three heads of “the Organization”, and one of the targets that Marvin chases to retrieve his money.

Playing another of the three heads is Lloyd Bochner, who capitalized on his smooth demeanor and velvety voice during a 7 decade career in TV and movies. Mr. Bochner is the father of Hart Bochner, who (as Ellis) tried to out-smart Hans Gruber in Die Hard. Keenan Wynn appears as a mysterious figure feeding information to Marvin’s character to assist in his quest of taking down the organization. Mr. Wynn is the son of legendary entertainer Ed Wynn who was known for his work in vaudeville, Ziegfeld Follies, TV and movies (Mary Poppins). Keenan also appeared in many TV shows and movies, with Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb being his most famous. Appearing as Lynn, the two-timing wife, Sharon Acker was on the verge of movie stardom … only that stardom never came. By choosing to focus on TV roles, she had a nice long career, but never reached the superstar status many had predicted. Sandra Warner plays the waitress that Marvin talks to, and Ms. Warner simply walked away from the business after this role … despite a successful career that started when she was 18 years old. Yet another familiar face in the cast belongs to John Vernon, who was making his feature film debut. Here he plays the guy pulling the trigger at point blank range, and many will recognize him as Dean Wormer in Animal House. James Sikking plays the sharpshooter employed by the organization, and fans of “Hill Street Blues” will remember him as the slightly annoying Howard.

There are a few other notes of interest regarding actors in the movie … though you’ll have to look quickly. Sid Haig plays a henchman at the hotel. Mr. Haig has had a prolific career as a heavy, bad guy, villain, horror film staple, and even Tarantino favorite. Barbara Feldon, the beloved Agent 99 in “Get Smart” makes an appearance on a Ponds face cream commercial as Marvin watches TV, and Lauren Bacall is seen/heard quickly on a TV set as well. Also, Felix Silla has one scene as a hotel guard. The diminutive Mr. Silla also starred as Cousin Itt in “The Addams Family”. As a final note and shout out to “the Chevies”, it must be noted that Angie Dickinson and Keenan Wynn would also appear together in the deliciously twisted 1971 film Pretty Maids all in a Row from that lover of the female form, director Roger Vadim.

It’s pretty easy to see how all of these factors came together to create this cult favorite. From a filmmaking perspective, the use of flashbacks, editing and sound effects (footsteps) all add to the experience, as does Brewster’s stunning home – which in real life, now belongs to Drew Barrymore. If you are a fan of 1960’s film, it’s one you probably already have seen a few times, but if not, it’s one to watch if for no other reason that Lee Marvin firing shots into an empty bed … I’m still not sure how that was supposed to help him obtain his $93,000, but he really wants his money!

watch the trailer (it’s a hoot!):

 

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Posted by David Ferguson

MUSTANG (France, 2015)

January 31, 2016

mustang Greetings again from the darkness. Writer/director Deniz Gamze Erguven admits to being inspired by Sophia Coppola’s 1999 The Virgin Suicides (though this is not a remake), and by offering us a rare glimpse into the lives of five sisters in a rural community in Turkey, it’s clear why the film has been so well received at film festivals – culminating in an Oscar nomination for Best Foreign Film. It’s a bit confusing that the film is credited to France (Ms. Erguven’s current place of residence) as it takes place in Turkey and is performed in Turkish. But of course, country of origin is a minor ripple in this year’s uproar over diversity at the Oscars.

Not being any type of expert in Turkey culture or customs, I must accept that the insights provided by Ms. Erguven and her co-writer Alice Winocour are somewhat accurate, which makes the balance between the tradition of female oppression and the amazing spirit of the girls so relatable for many. What begins as a seemingly harmless game of chicken the girls play with some classmates (boys) on the way home after the semester’s last day of classes, turns into a series of events that most will find absolutely unacceptable. The shame brought to the family and the threat of the girls being “spoiled” highlights the extreme reactions from their grandmother (Nihal G Koldas) and Uncle Erol (Ayberk Pekcan).

Lale (Gunes Sensoy) is the youngest of the sisters and in the end proves to be the toughest and most independent. And that’s really saying something. We take in much of what happens through Lale’s expressive eyes, and we as viewers long for reasonableness to enter their lives. After being what can only be described as imprisoned in their own home, the spirit of the girls collectively and individually becomes clear. They find ways, small and large, to rebel … but it’s soon enough clear that the mission is to marry the girls off before it’s too late (there’s that “spoiled” thing again).

As Lale witnesses what her older sisters are subjected to, and how happiness or their own wishes play no role, she becomes more determined to avoid such destiny. With skewed perspective, one might make the argument that Grandmother and Uncle are doing what they think is in the long term best interests of the girls, but the Uncle’s despicable actions void any such thought. Instead we are left to marvel at the strength and spirit of the girls in world that holds them in such low regard as individuals.

Lale’s sisters are Sonay (Ilayda Akdogan), Nur (Doga Zeynep Doguslu), Selma (Tugba Sunguroglu) and Ece (Elit Iscan). The girls are so natural together that we never doubt their sisterly bond. They argue like sisters, defend each other as sisters, and play together like sisters … were it not for their isolated existence, their bond would be a joy to behold. The cinematography throughout the film adds to the discomfort and dread we feel, and the acting is naturalistic and believable.  In the end, it’s the unbridled freedom of the titular creature that Lale defiantly embraces … whatever the consequences may be.

watch the trailer:

 

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Posted by David Ferguson

SON OF SAUL (Saul fia, Hungary, 2015)

January 21, 2016

son of saul Greetings again from the darkness. Not wanting to watch another movie related to the Holocaust is understandable. Why should you purposefully agree to experience the misery and unfathomable horror that occurred? The simple answer is that we should never forget one of the darkest and inexcusable periods in human history. Director Laszlo Nemes delivers a new approach … a different viewpoint … and it grabs us and doesn’t let go.

The startling opening is a long-tracking shot featuring Saul Auslander (played by Geza Rohrig) and his duties as part of the Sonderkommando unit at 1944 Auschwitz-Birkenau concentration camp. The red X on his jacket relegates Saul to corralling the next round of Jews into the gas chamber and then cleaning up for the next group. The reward of this position means the delay of his own inevitable death. It’s a closer, more intimate look at a process that we have not prevented ourselves to think much on.

What we soon realize is that dialogue is minimal and most of what we see is as if we were standing right beside or just behind Saul. The shallow focus means much in our sight line is blurred, and we are exceptionally dependent on the sound – what we hear often conveys more of the message than what we see. Cinematographer Matyas Erdely never allows our eyes to drift … he shows us only so much, forcing our brain to process and interpret so many more clues.

The horrific proceedings may be blurred, but it’s a devastating experience nonetheless. Saul’s stoic face masks his true emotions and disgust, and prevents him from drawing any unwanted attention. Saul’s dependability as a Sonderkommando changes in the blink of an eye – he sees the body of a young boy whom he claims is his own son. He becomes obsessed with finding a Rabbi to allow for a proper burial for the boy. It seems clear that this mission is a chance to break from his soul-crushing duties and grab a bit of redemption before it’s too late. Unfortunately, the timing of this mission conflicts with a planned prisoner uprising … adding more complexity to a nearly impossible quest.

This is the feature film debut of director Laszlo Nemes, who also co-wrote the story with Clara Royer. Some of the specifics are drawn from “Voices from Beneath the Ashes” (edited by Ber Mark) and “Auschwitz: A Doctor’s Eyewitness Account” by Miklos Nyiszli. It’s a fearless vision for Holocaust storytelling with many open-ended issues (we don’t always know identities and positions of those we see) and few conclusions provided. But then we all know the ultimate conclusion, and this look may be the most devastatingly intimate look we have ever had.

It’s not a movie that allows you to kick back on the sofa and simultaneously catch up with Facebook. It demands and deserves attention and patience. Nothing here is designed to allow us a “hands off” view from a safe distance. In fact, the lack of traditional story structure and dialogue direction forces us to face the ugliest reality through a different perspective than we’ve ever considered. Powerful stuff.

watch the trailer:

 

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Posted by David Ferguson

MOJAVE (2016)

January 21, 2016

mojave Greetings again from the darkness. The isolation of the desert seems the perfect place for an artist to achieve the existential awakening necessary during a time of personal doubt and crisis. The journey to find one’s true self becomes much more complicated when the one-man desert getaway is interrupted by heavy boozing, self-destructive tendencies, and a serial-killer sociopath. Such is the case with writer/director William Monahan’s (Oscar winner for his screenplay of The Departed) latest film.

Garrett Hedlund plays Thomas, a very successful filmmaker, who seems to take no joy from his life of luxury … a mansion in the hills, cool cars, a wife and daughter, and endless adulation. Sporting the ultra-cool celebrity look of sunglasses and long hair, Thomas heads off into the desert to either clear his mind or end his life. We aren’t really sure which, and neither is he. Lots of Vodka and reckless Jeep driving leave Thomas in a showdown of wits and machismo across a campfire from a sinister yet articulate drifter.

The drifter is Jack, played by Oscar Isaac, and it’s no surprise when we learn he is a serial killer … the sociopath part we figured out quickly, right along with Thomas. Their under-the-stars confrontation leads to a tragic accident the next day, and pits these two in a B-movie game of cat and mouse with a tone that reminds a bit of Cape Fear (1991) and U-Turn (1997).

Heading back to L.A., Thomas comes up with an incredibly stupid plan to cover his tracks. Being famous “since I was 19 years old” and having financial success with movies hasn’t trained Thomas on facing off against a clever nemesis. Even his discussion with his manager (played by an unusually low-key Walton Goggins) comes across as literary-speak rather than real advice. “Worry about what seems to be” is the advice Thomas rolls with.

Monahan fills the screen with tough-guy dialogue for these two characters that are both simultaneously stupid and smart. Jack and Thomas go at each like a couple of intellects, but it’s the class warfare that stands out. The 99% versus the 1%. The message seems to be that it comes down to circumstance on whether one is an artist or a psychotic felon … and the line separating the two is pretty slim.

It’s also not a very well disguised ripping of the film industry … especially of producers. Mark Wahlberg chews some scenery as a d-bag movie producer who talks loud and fast while accomplishing little. It’s a pretty funny turn for Wahlberg, though unfortunately his character spends limited time on screen. Louise Bourgoin has a couple of scenes, and quickly proves more would have been welcome.

The film may not be much to look at, and doesn’t really make much sense, but some of the dialogue duels and “brother” banter, manage to keep us interested throughout. “Take a left. Take a right.” It doesn’t much matter with these two well-read adversaries from opposite sides of the tracks.

watch the trailer:

 

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Posted by David Ferguson

WAVES ’98 (animated short film, 2016)

January 21, 2016

waves 98 Greetings again from the darkness. With a prestigious award from Cannes, filmmaker Ely Dagher probably had hopes for an Oscar nomination in the animated short film category. The nomination didn’t happen, but that doesn’t diminish the fine work from the Beirut-born director, who also uses splashes of news reel footage to contrast with the animation.

A teenager in suburban post-war Beirut has become disillusioned with his days of school and mundane home life. He spends hours on a rooftop gazing at downtown Beirut and a world so close, of which he knows so little. One day he is drawn to the unfamiliar urban landscape by a light emanating from the tall buildings … a light encouraging the younger generation to cross the bitter lines of division that have been wrecking the city.

He soon enters a world of imagination and serenity, and finds his bond to his real life slipping away. It’s a reminder that change only occurs with action, not merely dreams of a better world. The recurring theme and the block in his mind are presented to us by these two lines: “I’m tired of hearing the same story over and over again”; and “It feels like everything is stuck.” These feelings are not uncommon in teenagers all over the globe, but especially poignant given this setting.

 

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Posted by David Ferguson

13 HOURS: THE SECRET SOLDIERS OF BENGHAZI (2016)

January 17, 2016

13 Hours Greetings again from the darkness. Given that his last “true” story movie was Pearl Harbor (2001), and he is best known for the endless stream of Transformers movies (yes, another one is on the way), it’s understandable how we could be apprehensive (to say the least) about director Michael Bay taking on the Benghazi story. A sigh of relief is in order as the film pays tribute to those who deserve it while still providing Bay the opportunity to blow stuff up, and display his always-annoying tendencies with a camera.

The incredibly courageous soldiers, who comprised the CIA security team (GRS) of contractors that saved many lives, are the heroes of the story and heroes in real life. Bay never loses focus on their bravery and dedication, and avoids the temptation of taking an obvious political stance in telling their story. At the same time, he doesn’t shy away from making a weaslley CIA administrator type (played by David Constable) the face of bureaucratic incompetence.

The six man team is played in the movie by John Krasinski (as Jack Silva), James Badge Dale (beefed up from his “Pacific” days as Tyrone “Rone” Woods), Pablo Schreiber (as Kris “Tanto” Paronto), David Denman (as Dave “Boon” Benton), Dominic Fumusa (as John “Tig” Tiegen), and Max Martini (as Mark “Oz” Geist). All six actors are clearly proud to represent these men, and though wise-cracks abound, there is absolutely no Hollywood preening or posturing … these are gritty, well-trained, dedicated warriors.

So much as been written and debated about what happened during the 2012 siege that resulted in the tragic deaths of four Americans, including that of U.S. Ambassador Chris Stevens. But given the reputations of those in the CIA and the State Department, it’s doubtful full disclosure will ever replace the holes of doubt that exist, so studying the action sequences makes sense … though we also get a Joseph Campbell reference. Chuck Hogan adapted Mitchell Zuckoff’s book for the film, and in between the rapid gun fire and missiles, that deafening silence you hear is Washington, D.C.

watch the trailer:

 

 

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Posted by David Ferguson

A PERFECT DAY (2016)

January 14, 2016

a perfect day Greetings again from the darkness. “Somewhere in the Balkans, 1995” is the notice we receive in the opening frame, and the post Kosovo War setting is less about fighting a war and more about finding humanity in the aftermath. Based on the novel by Paula Farias and adapted by Diego Farias and director Fernando Leon de Aranoa, the film follows a group of Aid Across Borders workers as they make their way through the community, attempting to navigate the cultural and political challenges to offering assistance.

The corpse in a drinking water well is the immediate challenge facing the aid workers. Benecio Del Toro (Mambru), Tim Robbins (B), Melanie Thierry (Sophie) and their interpreter Fedja Stukan (Damir) are facing a short deadline in order to save the well from contamination for local villagers. Most of the movie revolves around their quest to find a rope so they can hoist the large corpse from the water. Searching for rope may seem a flimsy story center, but on their journey, we get to know these characters, some of the local cultural differences (in regards to dead bodies), the bureaucratic red tape faced, and the always present danger faced by do-gooders from the outside.

It’s understandable that a group in this situation would utilize humor to offset the ugliness, and there is no shortage of one-liners and wise-cracks, especially from B (Robbins). His cowboy approach is in distinct contrast to the veteran Mambru and the idealistic rookie Sophie. Soon enough they are joined by a local youngster named Nikola (Eldar Reisdovic) and an inspector Katya (Olga Kurylenko) sent to determine if the Aid program should continue. Oh yes, Katya and Mumbru are former lovers and it obviously didn’t end well.

As they work their way through the ropes challenge and the threat of land mines, we learn through the actions of Mumbru that no matter how much one wants to help, it’s only natural (and sometimes painful) to ask yourself if you are truly making a difference, or simply wasting time in a place filled with people who don’t seem to care. The specific use of multiple songs is at times distracting, and other times a perfect match (Lou Reed, The Buzzcocks). Del Toro proves yet again that he is a fascinating screen presence, and the message is strong enough to warrant a watch.

watch the trailer:

 

 

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Posted by David Ferguson

THE TREASURE (Comoara, Romania 2016)

January 9, 2016

the treasure Greetings again from the darkness. Cinematic comedies always face a challenge of the wide variances found in the senses of humor of movie goers. Taking a wry comedy approach narrows the market a bit more, and finally, tying in cultural and historical aspects specific to Romania risks leaving an audience of only the staunchest film festival attendees. Writer/director Corneliu Porumboui (12:08 East of Bucharest) sticks to his creative vision, never once catering to the masses.

Costi (Toma Cuzin) is reading “Robin Hood” to his young son when a knock on the door leads to a conversation with his neighbor Adrian (Adrian Purcanescu). In most movies, theirs would be described as an awkward conversation, but in this world, awkward is normal, so the description doesn’t really fit. However, the Robin Hood story acts a structure to the film, and especially to the actions and thought process of Costi, who fancies himself as a real life Robin Hood, even if it’s possibly only to impress his bullied-at-school son.

Adrian’s pitch to Costi is meant to raise the 800 Euros necessary to hire a professional metal detector in hopes of finding the treasure buried by Adrian’s great-grandfather during WWII.  The stage is set for what looks to be the proverbial wild goose chase of an urban legend, but this partnership results in the introduction of Corneliu Cozmei, a real life metal detector professional. The conversation between these three during the dig is at times harsh and lacking any pleasantries … sometimes laden with accusations … and often tying in Romanian history from revolutions to wars and Communist control.  It’s here you’re your particular sense of humor will either be rewarded or not. Viewers are treated to the somehow entertaining extended sequence of 3 men digging a hole whilst lighted by car headlights and accompanied by the beeping of the (flawed?) metal detector.

The wry, deadpan comedy is often as uncomfortable as it is funny, and much of the negativity is directed at the bureaucracy of modern day Romania (and human nature in general), including the ridiculous “cultural heritage” fees of any found treasure. This leads to an offbeat scene at the local police station – again, either wry or boring, depending on you. If the viewers have trouble connecting with the characters or the dialogue, perhaps the closing song “Life is Life” (in a guttural performance from Lailbach) will prove to be the best explanation of what was just seen. Most of us can’t name another Romanian comedy … and depending on taste, some will question whether this one qualifies, while others will be googling for more.

watch the trailer:

 

 

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Posted by David Ferguson

ANESTHESIA (2016)

January 7, 2016

anesthesia Greetings again from the darkness. The comparisons to Crash, the 2006 Oscar winner for Best Picture, will be numerous and understandable. However, rather than an expose’ on racial tension, writer/director/actor Tim Blake Nelson turns his pen and lens towards the somewhat less profound, though still fruitful subject matter of suburban angst amidst the educated elite.

An opening featuring a violent mugging on the stoop of a NYC brownstone grabs our attention quickly, and rather than follow the immediate aftermath, we are instead taken back in time to study the characters and events leading to that tragic moment. The tangled web of intertwined stories is made up of no fewer than fifteen different characters, each of whom is impacted by what happens in that opening sequence.

Sam Waterston plays a beloved Columbia University Philosophy Professor who is exceedingly happily married to Glenn Close. Director Tim Blake Nelson plays their son, who is married to Jessica Hecht, and together they have a teenage son and daughter (Ben Konigsberg, Hannah Marks). Michael K Williams plays a big shot attorney who forces his best friend (K Todd Freeman) into drug rehab with a renowned doctor (Yul Vazquez), while Gretchen Mol plays the mother of two daughters and wife of Corey Stoll.

All of the above might seem simple enough, but Mr. Nelson’s script jumbles things up for each character … just like what happens in real life. Waterston discovers that his prized pupil (Kristen Stewart) has psychological issues and needs professional help – just as he decides it’s time to retire from teaching. While their kids are smoking pot and exploring sexual frontiers, Hecht and Nelson are dealing with a medical dilemma. During his rehab, Freeman is quietly confronted by a nurse while being let down by his only friend; and as Ms. Mol turns to the bottle to numb her daily pain, her hubby is making plans with someone else (Mickey Sumner) … and China may or may not play a role. Whew!!

Daily life creates many opportunities. Some of these turn out good, while others seem destined to create pain. It’s that pain … sometimes quite arbitrary … and how we deal with it, which is at the core of these characters and their stories. There is also the always-present quest for truth and search for the meaning of life. We know we are in for a ride when Waterston’s character says “I used to believe in nothing. Now I believe in everything.” Worlds colliding at every turn keep the pace of the film brisk, and the familiar cast of actors allows us to easily accept each of the characters. A bit more polish on the script could have elevated this, but even as is, the film delivers a worthy punch, and has us questioning if we should be “planting cabbages” (Montaigne).

watch the trailer:

 

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Posted by David Ferguson

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