STEVE JOBS (2015)

November 5, 2015

steve jobs Greetings again from the darkness. Does it take the smartest guy in the room to write about the smartest guy in the room? Probably not, but as Aaron Sorkin shows in writing about Steve Jobs, it can’t hurt. It’s an impressive filmmaking team that, in addition to Sorkin, includes director Danny Boyle, and a cast of Michael Fassbender, Kate Winslet, Jeff Daniels, Michael Stuhlbarg, Katherine Waterston, Seth Rogen, John Ortiz and Perla Haney-Jardine … that’s a lot of talent, prestige, and award-winners.

The film is based on the terrific authorized biography written by Walter Isaacson (which I recommend). Rather than tackle the entirety of the book or Jobs’ life, a theatrical approach is taken with three distinct acts covering 16 years centered on product roll-outs: Macintosh, 1984; NeXT, 1988; and iMac, 1998. You might notice that two of those products are considered major flops, but the focus is on the persona of Jobs, not the performance of the products. Director Boyle makes his presence felt by filming appropriately in each of the segments: 16mm for 1984, 35mm for 1988, and digital for 1998. He also brings a sweeping beauty to the visuals … whether it’s Jobs storming through a hallway, or the maze of activity backstage at each roll-out.

In today’s world, it’s humorous to witness the cult-like atmosphere that develops around Apple products, and it’s equally comical to see the small-minded types who refuse to credit Jobs or Apple for catapulting consumer technology ahead by decades, and for achieving levels of financial success never before reached. Although it’s difficult to separate Jobs from Apple, Sorkin and Boyle are very clear in their focus on the man. In fact, the movie could be viewed as a kind of dysfunctional family – both genetic family and work family.

Rogen plays Steve Wozniak and Stuhlbarg plays Andy Hertzfeld, both part of the original Apple team with Jobs. There are some pointed exchanges between these three characters, with the most eye-raising being when Woz asks Jobs, “What do you do?” It’s the best display of what makes Jobs different than others, and his answer is one of the most disheartening compliments ever heard. There are multiple extended sequences with Jobs and his quasi-father figure John Sculley (Jeff Daniels). These two rip through Sorkin dialogue the way Michael Jordan once sliced through defenses. Most cruel are the exchanges between Jobs and Chrisann Brennan (Ms. Waterston) – the mother of his daughter Lisa (though he refused to acknowledge being her father).

For those familiar with the role of Joanna Hoffman in Jobs’ career, you will be duly impressed with the performance of Kate Winslet … playing the only one who could consistently stand up to the relentless pressure and lofty expectations.

There are soft references to (future) iPods and iPads, and Jobs’ break-up with Apple is dramatized, but it’s the individual scenes of interaction with others that makes this entertaining and challenging to watch. There is nothing likable about Steve Jobs the man, but Fassbender’s fine performance does allow glimpses of humanity beneath the God-like aura Jobs presented. Was Jobs a genius? Was he an extreme social misfit?  Was he a cruel family man due to his botched adoption as a kid? Regardless of where you place him in the realm of technology development, it’s difficult to argue with Woz’s proclamation that one can be “decent AND gifted”. It’s not binary.

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Posted by David Ferguson

BURNT (2015)

October 30, 2015

burnt Greetings again from the darkness. This one is not just for all you foodies out there – though there is plenty to digest for those who fancy themselves as some hoity-toity chef to the rich and famous. Don’t go in expecting a “How to Cook” seminar. Instead, simmer down and prep yourself for a serving of massive ego topped with arrogance and a side of narcissism. Blend those ingredients into one character, and this chef somehow remains likable … when played by Bradley Cooper.

Enough with the cooking terms, but let’s heap more praise on Mr. Cooper. When first we meet his character Adam Jones, he is readying himself to bounce back after self-destructing his career as a two-star Michelin chef in Paris. He simply walks out the door of the Louisiana diner where he has been serving his self-imposed penance … shelling 1 million raw oysters, each one recorded in his pocket notebook. This provides our first glimpse into the obsessive-compulsive personality of Adam, and helps explain how he has managed to kick his drug, alcohol, and women addictions. Feeling refreshed and on a mission to garner that rarified third Michelin star, Adam begins assembling his team in London and encouraging his old co-worker Tony (Daniel Bruhl, Rush) to entrust him with his restaurant.

We can’t actually taste the magnificent food that’s served on screen, but the colors and textures are a kaleidoscope to our eyes. The movie is beautiful to look at. The restaurant dining rooms are showplaces, the kitchens are pristine, and the customers are mostly dressed like runway models. On top of that, Bradley Cooper and Alicia Vikander (in a small role) are two of the grand champions in the gene pool sweepstakes. All of that beauty is balanced out by the quest for perfection and lack of interpersonal skills displayed by Chef Adam. It’s not until his star pupil Helene (Sienna Miller) shows him another way, does Adam even start to resemble a human being.

Drug dealers, old flames, a therapist (Emma Thompson), an arch rival (Matthew Rhys, “The Americans”), an unrequited one-way love, a deceased mentor, a ridiculously cute kid (Lexi Benbow-Hart, sporting hair that would make Julia Roberts envious), and a wronged co-worker (Omar Sy) combine to add plenty of action. Even the quick cut shots in the kitchen manage to make grilling onions and carving a fish interesting.

Never digging too deep, director John Wells (August: Osage County) delivers an entertaining movie with wide appeal, and a message of teamwork and family. The story is from Michael Kalesniko and the script from Steven Knight (who also wrote last year’s Michelin star-centered The Hundred-Foot Journey). The dialogue is sharp enough to deliver some laughs, though the element of danger doesn’t really work, and a couple of times it teeters on gooey melodrama. It doesn’t reach the level of Mostly Martha (2002), and is a tick behind last year’s Chef (Jon Favreau), but it may offer the most creative lesson yet in how best to serve a dish of revenge. It’s a tasty enough treat for those in the mood for an entertaining movie and an endless stream of pretty things to look at.

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Posted by David Ferguson

OUR BRAND IS CRISIS (2015)

October 29, 2015

our brand is crisis Greetings again from the darkness. The world of political campaigns and elections is a never-ending treasure trove of material for movies. It’s a subject ripe for parody, satire, comedy, suspense and documentaries.  Need proof?  How about this widely varied list: The Manchurian Candidate, Bob Roberts, Wag the Dog, Bulworth, Welcome to Mooseport, and The Ides of March.  Director David Gordon Green has a resume equally as varied, ranging from Pineapple Express (2008) to Manglehorn (2014).

This wide spectrum of possibilities seems to have confused screenwriter Peter Straughan (the excellent Tinker Tailor Soldier Spy) who used Rachel Boynton’s 2005 documentary of the same name as inspiration. It seems to be both a comedy that’s not too funny and a drama that not very dramatic. Casting Sandra Bullock in the lead probably created a certain feeling of security with the filmmakers, as they assumed audiences would laugh along at such creative moments as her predictable pratfall from a private jet, the sunglasses-on-the-nose look of consternation, and the rah-rah speech given to a group of campaign volunteers who don’t speak English. Even fans of Ms. Bullock will recognize the laziness.

Alvin Lee and Ten Years After delivered the anthem “I’d Love to Change the World”, and never before this movie had I placed it in such a negative manner … how the United States sticks its nose where it doesn’t belong in international elections. Ms. Bullock’s character Jane is a political strategist brought out of self-imposed exile to run the campaign of Bolivia’s former President (played by Joaquim de Almeida). See he is far behind the leader in the polls – a progressive candidate whose campaign is being run by Bullock’s long-time rival Pat Candy (played by Billy Bob Thornton). Let the juicy rivalry games begin!

The only problem is … it’s a wasted rivalry filled with mostly lame games and it’s often quite plodding (just like real politics!). The character of Jane is based on the real life efforts of James Carville to influence South American elections, and yet it’s Pat Candy who sports the look of Carville. The supporting cast is filled with talent: Anthony Mackie, Ann Dowd, Scoot McNairy, and Zoe Kazan, yet none are given much to do other than play second fiddle to Bullock.

While the script offers no real surprises or twists, and the forced “message” at the end could be guessed by most any viewer 10 minutes in, it’s the amateurish ploys that make this one score high on the annoyance scale. Having Ms. Bullock sport the only blonde follicles in Bolivia, the over-use of super slow-motion to create some unnecessary effect, and using the word “crisis” the way Tarantino uses the f-word, all combine to give the film a very cheesy look and feel … and we aren’t even rewarded with a single memorable exchange between Bullock and Billy Bob. One thing for sure … this is not the garden spot of Bolivia.

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Posted by David Ferguson

TRUTH (2015)

October 29, 2015

truth Greetings again from the darkness. The film is based on the book written by Mary Mapes, “Truth and Duty: The Press, the President, and the Privilege of Power”, and plays like a desperate attempt at rationalizing the actions of a TV producer, a TV news icon, their team of reporters and researchers, and the endless drive for ratings by a network news organization. Telling only your side of the story when a significant conflict is involved, does not encourage thinking people to take up your cause.

In 2004, Mary Mapes brought in her team to dig into the rumors that President George W Bush had received preferential treatment in military assignments and that his military service records were either incomplete, had been altered, or proved that he did not fulfill his service requirements. Ms. Mapes professional relationship with Dan Rather allowed her to bring him into the fold, and resulted in significant air time on CBS and “60 Minutes”. Most of us know how this saga ended … Mapes and her team were let go, and Mr. Rather’s time as the network news anchor was unceremoniously ended. While there may very well be substance to the story they were chasing, both the book and the movie act as Ms. Mapes defensive pleas of innocence.

In the film, Cate Blanchett plays Mary Mapes, and Robert Redford plays Dan Rather. Ms. Blanchett, as usual, is exceptional; and Redford is solid in capturing the essence of Rather (though the hair color variances are distracting). The other key players are: Topher Grace as reporter Mike Smith, Dennis Quaid as researcher and former Marine Lt. Colonel Roger Charles, Elisabeth Moss as Lucy Scott, Bruce Greenwood as Andrew Heyward (President of CBS News), Stacy Keach as Mapes source Lt. Colonel Bill Burkett, and Dermot Mulroney as CBS attorney Lawrence Lampher. The film is well cast, but it’s not enough to make up for the weak script and the less-than-stellar direction from first timer James Vanderbilt (who did write the screenplay for Zodiac, and is the great-grandson of Albert G Vanderbilt).

Rather than provide any proof that the story was properly documented and confirmed, Mapes and Rather decry the loss of reporters who ask the “tough” questions. Their defense seems to be that they were brave enough to chase the story and ask questions. A sequence is included that positions these two as the last bastions for true news reporting, and that these days news organizations are more concerned with profits and ratings, than breaking a story. This argument conveniently omits the fact that information flows much more freely today than in “the good old days”. The actions of politicians and industry leaders are constantly being questioned and scrutinized by the endless stream of bloggers and reporters – both amateurs and professionals. There is no shortage of questions being asked, and the ease with which accusations are leveled actually fits right in with the Mapes approach.

The frustrating part of the movie is that it’s a missed opportunity to detail how “legitimate” news organizations go to extremes to document and verify their information and sources, and this is where Ms. Mapes’ team fell short. Without intending to, the film plays more similar to Shattered Glass (2003) than All the President’s Men (1976) … getting a story being more important than proving a story. We are left with the feeling that Ms. Mapes believes asking a question is more important than proving the facts. The cringe-inducing shot of Dan Rather’s final broadcast leaves the viewers with the impression that the objective of the film was to place Mapes and Rather on a pedestal of righteousness. The only thing actually confirmed here is that heads rolling at CBS was the right (and only reasonable) call.

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Posted by David Ferguson

BARE (2015)

October 29, 2015

bare Greetings again from the darkness. The debut feature of writer/director Natalia Leite takes on the all-too-familiar territory of a disenchanted teenager being smothered by a claustrophobic small town, and twists it into a nocturnal awakening that changes some lives, while leaving others forever jogging in place.

Sarah (Dianna Agron, “Glee”) is a bored, young local in a small Nevada town. She gets fired from her job as a supermarket checker and spends her time hanging out with her boyfriend (Chris Zylka) and their group of equally unambitious friends. One day she stumbles upon Pepper (Paz de la Huerta, “Boardwalk Empire”) who is sleeping in an abandoned store owned by Sarah’s father. Intrigued by the drifter, Sarah allows herself to be drawn into Pepper’s world of drugs and strippers. A quick trip to Las Vegas really opens up Sarah’s eyes to the great big world, and also leads to some amorous feelings toward Pepper.

Clichés abound here as the mysterious stranger awakens the spirit of the small town dreamer; the taboo love story; the judgmental family and friends; and the “one last shift” to earn enough money to flee this small town and discover one’s true purpose while living a carefree life. Pepper tosses out some philosophical musings and Sarah falls hook, line and sinker. We fully expect this to end badly for both.

Filmmaker Leite does a nice job of creating the feel of the night without judging its participants too harshly. Dianna Agron has the screen presence to pull off the innocent girl’s self-discovery, while Paz de la Huerta has the mysterious quality of one to whom someone like the Sarah character would be drawn. It’s interesting how Sarah is allowed to choose her own path, and explore the possibilities of what might be. At best, the film is one for a sleepless night, and it does provide two disparate female leads and a director who has earned more opportunities.

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Posted by David Ferguson

NASTY BABY (2015)

October 29, 2015

nasty baby Greetings again from the darkness. Many indie films receive positive responses during a film festival run because most festival goers are frequent movie watchers, and really appreciate the unique and brave approach taken by the rebellious and up-and-coming filmmakers. Writer/director Sebastian Silva lulls us into the comfort zone of a “friends” story and then stuns us with a third act that could seem out-of-the-blue, if one weren’t paying close attention along the way.

Mr. Silva also stars as Freddy, a media artist who is working on a video project (entitled Nasty Baby) that features himself (and others) imitating infants. He lives in Brooklyn with his boyfriend Mo, played by TV on the Radio’s Tunde Adebimpe (so good in Rachel Getting Married, 2008). They are part of a trio of friends completed by Polly (Kristen Wiig), who is addressing her biological clock by relentlessly pursuing artificial insemination from her two friends.

While it’s easy as a viewer to get complacent watching the interactions of these three mostly likable people in various elements: together, separately, at work, with other acquaintances, and especially with neighbors; the script offers many subtle hints along the way about the make-up of each.

The supporting cast is excellent and includes Reg E Cathey (“House of Cards”) as a mentally-shaky neighbor, Mark Margolis (“Breaking Bad”) as a more level-headed neighbor, Alia Shawkat (underutilized here, but very talented) as Freddy’s assistant, and Neal Huff as the eccentric gallery owner.

Normal seems like a pretty straightforward term, but the film shows that normal really doesn’t exist, since it’s always changing. The relationship of this trio of friends, their plan for child-rearing, and the family dinner at Mo’s parent’s home … all examples of how normal has shifted. And to top it off, the film’s third act can’t be considered normal by any standard of story-telling, and you will question how you missed the true character of the main players … and maybe even how you would react, if you found yourself in this spot. If nothing else, the film might make you a bit more tolerant of your annoying neighbor that has caused you so many negative thoughts over the years.

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Posted by David Ferguson

ROOM (2015)

October 24, 2015

room Greetings again from the darkness. Tragically, stories of women being held captive have become all too common in this sometimes frightening world in which we live. Emma Donoghue had the high profile, real life situations of Jaycee Dugard, Elisabeth Fritzl and Amanda Berry (Ariel Castro) to draw from for her terrific novel upon which this film is based. While not easy for anyone (especially parents) to watch, it’s a well made movie with outstanding performances … including a career-changer from Brie Larson.

Director Lenny Abrahamson (Frank, a critical favorite from last year) takes us inside the world – or more accurately – the walls where Ma (Brie Larson) and her just turning 5 year old son Jack (Jacob Tremblay) live. Seven years ago, Larson’s character was abducted while walking home from school, and since then she has given birth to Jack, and the two have been held captive in a small shed with only a skylight connecting to the outer spaces of life. The captor … known as Old Nick (Sean Bridgers) … periodically brings them supplies, while also regularly visiting to satisfy his more base needs with Ma.

For the first half of the film, we as viewers are held prisoners right along with Ma and Jack. We see what a patient and wonderful mother she is as she strives to provide some semblance of hope for her son, though in a nearly hopeless situation. When Jack turns 5, Ma begins to explain the outside world to him, as she knows they must try to escape in order for her son to have any semblance of a normal life. During this time, we are in awe of this 10 x 10 environment and how it is every bit the nightmare we have imagined while reading the articles and seeing the reports on real life ordeals.

The second half of the film is equally fascinating, as we watch young Jack and his sense of wonder and caution at discovering the real world. We also see the psychological trauma that Ma experiences after staying strong for so long. Assimilating into society brings different challenges for both Ma and Jack, plus those of her mother (Joan Allen), her father (William H Macy) and her mom’s new beau (Tom McCamus). The film doesn’t shy away from their reactions, though some are easier to stomach than others.

Providing any more details would soften the impact of the film, and this is one that is meant to be felt – even if it’s a true kick in the gut. The film is well cast and well acted, and young Jacob Tremblay captures our hearts quickly and joins the short list of child actors who go far beyond “cute” and into profound. Brie Larson exploded onto the acting scene in Short Term 12, one of my favorite movies of 2013; but it’s here where she steps into the elite level of actresses. She brings a tenacity and emotional strength that leaves us never doubting whether she has “her strong”.

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Posted by David Ferguson

I SMILE BACK (2015)

October 23, 2015

I smile back Greetings again from the darkness. The combination of Sarah Silverman in the lead role and the word “smile” in the title sets the stage for some shell-shocked movie goers who walk into this one expecting the side-splitting laughs this talented comedienne usually delivers. Drama seems an insufficient description for what director Adam Salky serves up, and Ms. Silverman is fully engaged with the bleak tone. It’s a Hollywood rite of passage that every comedic actor must go full bore drama before they are taken seriously as an actor. Welcome to the club, Sarah.

The opening sequence plops us right into Laney’s (Silverman) depressed state. We soon learn that she is far beyond the stereotypical disillusioned suburban housewife. She lives in a stunning McMansion with her wonderful husband Bruce (Josh Charles) and their cute kids. Unable to find joy in her life, Laney seeks answers in alcohol, pills, cocaine, and by trysting with her friend’s husband (Thomas Sadoski). We’ve seen it all before, but never by through the work of a fearless Sarah Silverman.

It’s not that we dislike Laney. It’s more that we feel helpless and somewhat disgusted watching her. We have seen the parents who put their career ahead of family, but it’s even more painful to watch such self-destructive emotional behavior. And when Laney finds release through her daughter’s teddy bear, it pushes us as viewers to accept just how near the edge she teeters.

Laney’s vacuous eyes are the obvious sign that she is simply unable to find any joy in the daily routine of family life. It’s not surprising when we learn of the childhood baggage she carries, and her attempts to confront the past provides a spark of hope for her recovery … as does the rehab stay. However, the script from Paige Dylan (wife of Jakob Dylan) and Amy Koppelman confirms that sometimes there is no redemption. The abrupt ending is both a kick in the gut and relief that our time with Laney is done … and also recognition that Sarah Silverman has arrived as a dramatic acting force.

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Posted by David Ferguson

DIFRET (2015)

October 23, 2015

difret Greetings again from the darkness. Maybe the best part of “based on a true story” movies is that they allow for a quick spotlight on both unheralded heroes and under-the-radar injustices around the globe. The first feature from writer/director Zeresenay Mehari brings warranted attention to the barbaric tradition of telefa in parts of rural Ethiopia. This so-called cultural rite involves a posse of men abducting a young girl whom one of them has chosen to be his wife.

Tizita Hagere plays Hirut, a 14 year old girl who is excelling in school and dreaming of attending university. While skipping home from school one day, Hirut is abducted by a group of men on horseback, who lock her away in a nearby house. Later she is visited by the man who wants to make her his wife. He beats and rapes her, leaving her to sleep injured on the dirt floor. The next day, Hirut tries to escape and ends up shooting her would-be husband. She is charged with murder, and it’s here that we come to understand the lack of civil rights or equality when it comes to measuring the worth of a man versus a woman in this community.

Hirut’s case comes to the attention of Meaza Ashenafi (Meron Getnet), a partner in the Andinet Women Lawyers Association. She fights for the rights of women and girls in a society where few rights exist. It’s clear to any reasonable person that Hirut’s actions were in self-defense, but reasonableness is not the determining factor … in fact, the village elders hold a community meeting and hear from Hirut’s father and the father of the dead would-be husband. We are able to compare this form of village justice to the equally unbalanced scales of the courts.

The actual 1996 case of Aberash Bekale (on which this story is based) was a turning point in the legal system for Ethiopian women. This horrific process of abduction for marriage does still go on, but not in the mass numbers of the past. Of course, even once is too many. The film does a nice job of contrasting cultural versus civil laws, and how not all “traditions” should be continued simply because they are labeled as such.

Mr. Mehari’s film has done well on the festival circuit, and certainly is boosted by the presence of Executive Producer Angelina Jolie. It’s a real world example of just how important education and equality is, and how many of us take this for granted, while others live in areas where defiance could cost them their liberty and life.

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Posted by David Ferguson

ASTHMA (2015)

October 23, 2015

asthma Greetings again from the darkness. So this greasy, heroin-addicted slacker picks up a smartass tattoo artist while driving the Rolls Royce he has just stolen. What sounds like the beginning of a stand-up comedian’s best joke, is actually one of the earliest scenes from writer/director Jake Hoffman’s first feature film.  That’s right, you have seen him many times as an actor (he played shoe mogul Steve Madden in The Wolf of Wall Street), but now Dustin’s son is a full-fledged filmmaker.

When first we meet Gus (Benedict Samuel, “The Walking Dead”), he can’t be bothered to actually paint the wall he was hired to paint … “It’s already white!” Once relieved of his duties, he heads home and white washes his apartment … not just the walls, but his TV, books and Jim Morrison poster. He claims all of his heroes are dead, and that he was unfortunately born in the wrong era … the 70’s were so much more his style. He then proceeds to try and hang himself.  Of course, he fails at that too.

Next we see him car-jack the Rolls and then Ruby (Krysten Ritter) is accepting his offer of driving her to Connecticut. Having previously rebuffed his advances at a local bar, it’s obvious Ruby is intrigued by the banter and energy of Gus. The road trip brings it challenges and high points for Gus, and the two arrive at the communal retreat that features a mystic/yoga instructor (Goran Visnjic, Beginners) and a rock singer (Dov Tiefenbach), amongst others. Logan, the rock singer, and Gus softly battle for Ruby’s attention, but it’s difficult to watch as Gus drugs up and loses any sense of appeal.

It’s not long before Gus is being bailed out of jail by his well-off dad … played by Jerry Zucker, who in real life, directed Ghost and produced numerous Hollywood films. The two share an awkward car ride to the home of Gus’ bedridden mom played by Rosanna Arquette. Perhaps all of this makes more sense when you learn that Gus also takes life advice from his imaginary philosophical talking werewolf (voiced by  ). Maybe this explains what those of us who don’t shoot heroin are really missing.

The cast is strong, and each gives it their best shot. It’s just not very entertaining or enlightening to watch some aimless dude drift through life while higher than a kite. What is clear, and has been to me for quite some time, is that at some point the right role is going to come along for Krysten Ritter, and her career will take off. She has had a solid career up to now, but next level is within her grasp. She has quite a screen presence … way more than the imaginary werewolf. Mr. Hoffman’s feel for directing offers hope for future projects, and he is certainly to be commended for his use of cutting edge music. Next time … please give us a more interesting lead character.

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Posted by David Ferguson

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