A TALE OF LOVE AND DARKNESS (2016)

April 30, 2016

Dallas International Film Festival 2016

a tale of love and darkness Greetings again from the darkness. The establishment of the state of Israel and the memoir of Amos Oz are the foundation of the feature film directorial debut of Natalie Portman. First time directors don’t typically fight over such source material, but it has always seemed that Ms. Portman was headed towards bigger (and more important) things.

She was born in Jerusalem and this story opens in that city during 1945. The narrator is the elderly Amos and the story is told through the eyes of young Amos (a very effective Amir Tessler) … though the focus is on his mother Fania (played by Ms. Portman).

The tensions between Jews and Arabs are ever-present, but this is the mostly personal and intimate struggle of Fania and her family. She has survived the atrocities of the Holocaust, though many of her family and friends did not. In fact, her inability to overcome this past and adjust to the new world is what has the biggest impact on young Amos and his scholarly father Arieh (Gilad Kahana). Amos soon figures out that the litmus test for his mother’s mood is whether she is telling stories of the old days, or staring blankly into a void.

Watching someone fade away and experience death by depression/disappointment/unfulfilled dreams goes so against what we typically see on screen – the emotionally strong and heroic types. Portman’s performance makes it believable, but no less difficult to watch … for us or young Amos.

The film is well shot and well acted, and much more is conveyed through faces and movement than spoken words … somewhat unusual for the recollections of a writer. The color palette and the silence dominate many scenes, and it seems appropriate given the situation of this family. Expect to see many more projects from director Portman, as she obviously has much to say.

watch the trailer:

 

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Posted by David Ferguson

THE MASTER CLEANSE (2016)

April 30, 2016

Dallas International Film Festival 2016

master cleanse Greetings again from the darkness. Sometimes, it’s just difficult to know how to describe or discuss a movie. This happens more frequently at film festivals where the most creative and risky films often find their only audience. This first feature film from writer/director Bobby Miller isn’t really a comedy – though there are some uneasy laughs; and it isn’t really a horror film – though isolated cabins in the woods and creepy little creatures give the impression that it could go that way.

Johnny Galecki (“The Big Bang Theory”) stars as Paul, a down-on-his-luck nice guy who hasn’t recovered emotionally from being dumped at the altar by his fiancé. One night he’s dozing on the sofa when a TV ad captures his attention … it’s a spiritual retreat for the downtrodden!  The timing couldn’t be better.

He’s joined at the isolated retreat by struggling actress Maggie (Anna Friel), a young couple, Eric (Kyle Gallner) and Lily (Diana Bang) working through relationship issues, and a quasi-caretaker and holdover client played by Kevin J O’Connor. The on-site leader is played in full-bellow mode by the great Angelica Huston.

Day one is the juice cleanse, and the participants have to force down a disgusting concoction designed to “eliminate” … the step preceding “termination”. Elimination is pretty easy to figure out, as our new friends expel from both ends (fortunately this is mostly implied, not shown).  While that part might be expected, the surprise comes in the form of the eliminated creatures unique to each of our players … little critters representing the emotional baggage we all carry inside.

In the midst of misery, the retreaters are told that the movement (no pun intended) leader (Oliver Platt) will be arriving soon. He’s kind of a cult-like figure without the expected pretentiousness. In fact, he’s a pretty nice guy that seems to really care. Of course, that would be a pretty boring story, so plenty of things go awry during the process.

“Let’s Get Pure” is the name for the retreat, and the idea of physically removing our negative energy and emotional baggage does make some sense. Director Miller seems to blend the worlds of early David Cronenberg and Gremlins to deliver an odd little film that could develop a cult following of its own. It’s a serious message conveyed in a not so serious way. Galecki and Friel do a nice job of keeping us grounded and giving us some peeps to pull for.  Just watch that final step … termination can be brutal.

 

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Posted by David Ferguson

THE MAN WHO KNEW INFINITY (2016)

April 30, 2016

USA Film Festival 2016

man who knew infinity Greetings again from the darkness. When one imagines the most exciting topics for movies, mathematics tends to fall pretty far down the list. Heck, most students only take math classes because they have no choice, so why should anyone be interested in the story of a young Indian man who revolutionized the mathematics world at Trinity College in Cambridge in the early 20th century?  The reason is that Srinivasa Ramanujan’s personal story is about more than numbers … it’s about faith and passion and overcoming life’s obstacles.

The story also has an intriguing by-product of demonstrating the difference between intelligence and genius. Trinity College at Cambridge was staffed by some of the smartest, best-educated professors on the planet when this self-taught odd young man appeared with ideas and notebooks filled with equations and concepts that most couldn’t even fathom, much less accept.

Dev Patel plays Ramanujan, the spirited man from Madras India who accepted his remarkable talent as a gift from God. His initially difficult relationship with Trinity Professor GH Hardy (Jeremy Irons) was a clash of two men whose passion for math far eclipsed their comfort in the real world. Hardy was a bit of an outcast at the university, while Ramanujan struggled to provide for his new wife, and had little patience for those who doubted his work.

Writer/director Matt Brown doesn’t seem to believe that the relationship between these two gentlemen is strong enough to hold a mainstream audience, so he commits what comes across as an excessive amount of time to the long-distance battles of the wife and mother of this genius. On the math side, Mr. Brown doesn’t allow us to get lost in minutiae of math equations, but also misses the mark on just how groundbreaking and extraordinary Ramanujan’s work was. There is little doubt that the story of genius, when combined with the abrasive mentorship, racism, elitism and health challenges provides more than enough material to keep us glued to the screen. The rest is merely distracting.

Strong support work is provided by Toby Jones (as Littlewood), Stephen Fry, and Jeremy Northam (as Bertrand Russell), but it’s Patel and Irons who carry the weight here. It’s especially rewarding to see Irons as a co-lead again. There have been other popular math movies like A Beautiful Mind, Good Will Hunting, and Proof, but it’s The Theory of Everything that seems to have the most in common with the story of Ramanujan and Hardy. So give it a shot … and remember to show your work!

watch the trailer:

 

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Posted by David Ferguson

LOUDER THAN BOMBS (2016)

April 29, 2016

louder than bombs Greetings again from the darkness. Sometimes we just can’t “get over it”. Three years after a war photographer dies in a suspicious car accident, her husband and two sons find themselves in various states of emotional distress. Everyone deals with guilt in their own way, but these three seem to be doing anything and everything to avoid actually dealing with the emotional fallout.

Writer/director Joachim Trier (Oslo, August 31) delivers his first English-speaking film with an assist from co-writer Eskil Vogt and a terrific cast. As we would expect from Mr. Trier, it’s a visually stylish film with some stunning images … and the timeline is anything but simple as we bounce from past to present, and from the perspective of different characters (sometimes with the same scene).

The creativity involved with the story telling and technical aspects have no impact whatsoever on the pacing. To say that the film is meticulously paced would be a kind way of saying many viewers may actually get restless/bored with how slowly things move at times. Trier uses this pacing to help us experience some of the frustration and discomfort that each of the characters feel.

Isabelle Huppert plays the mother/wife in some wonderful flashback and dream-like sequences, while Gabriel Byrne plays her surviving husband. Jesse Eisenberg as Jonah, and Devin Druid as Conrad are the sons, and as brothers they struggle to connect with each other … just as the father struggles to connect with each of them. In fact, it’s a film filled with characters who lie to each other, lie to themselves, and lie to others. It’s no mystery why they are each miserable in their own way. The suppressed emotions are at times overwhelming, and it’s especially difficult to see the youngest son struggle with social aspects of high school … it’s a spellbinding performance from Devin Druid (“Olive Kitteridge”).

Jesse Eisenberg manages to tone down his usual hyper-obnoxious mannerisms, yet still create the most unlikable character in the film … and that’s saying a lot. Mr. Byrne delivers a solid performance as the Dad who is quite flawed, and other supporting work is provided by David Strathairn and Amy Ryan. The shadow cast by this woman is enormous and deep … and for nearly two hours we watch the family she left behind come to grips with her death and each other. It’s a film done well, but only you can decide if it sounds like a good way to spend two hours.

watch the trailer:

 

 

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Posted by David Ferguson

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

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