THE LAST TREASURE HUNT (2015)

June 7, 2015

last treasure Greetings again from the darkness. Their father’s sudden death after a heart attack reunites an estranged brother and sister. Disclosing that this was the second heart attack for the dad – but the first that his offspring knew of – provides all the back story one needs to understand the communication deficiencies within this family and the struggles these two have in connecting with each other, and making peace with the past and present.

The dad (Art LaFleur, Field of Dreams) was a bit eccentric, and one of his traditions was an annual treasure hunt for his kids Oliver (Casey Nelson) and Lucy (Kate Murdoch). When these now young adults show up for the reading of the will, they are taken aback by their father’s last wish – an elaborate 6 clue final treasure hunt to uncover the true details of their inheritance. Oliver and Lucy grudgingly team up to solve the clues.

Of course, the emotional rollercoaster kicks in and these two bicker like brother and sister, dredging up past memories both good and bad … well, mostly bad. It’s only fair that a massive melodrama caution flag is waved here. There are some realistic moments as the siblings pick and prod each other as only this relationship can; however, much more time is spent as each of them deal with their own baggage of self-loathing.

The supporting cast adds a welcome change of pace from the brother-sister thing, as we get Cousin Alfred (Jeff Grace) – an odd bird with a camera who wants to buy the dad’s house; neighbor Gary (Charles Hoyes) who was good friends with the dad and adds clarity to the situation; and Oliver’s girlfriend Susan (Kandis Erickson) who has much to fight through herself. In addition to these characters, the house and the island locale loom large in most scenes, as do the volumes of books throughout each room.

Kate Murdoch and Casey Nelson not only co-star in the film, but also co-wrote the script, which provides the foundation for director Patrick Biesemans’ first feature film.

 

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Posted by David Ferguson

ALOHA (2015)

May 30, 2015

aloha Greetings again from the darkness. Since I can usually find something of interest, it’s rare that I feel cheated after watching a movie. Of course, feeling disappointed happens more often, but feeling cheated is something altogether different and, unfortunately writer/director Cameron Crowe’s latest is the perfect reminder of that difference.

Three outstanding lead actors (Bradley Cooper, Emma Stone, Rachel McAdams), a terrific and deep supporting cast, and a beautiful filming location of Hawaii mean that the fault lies with Mr. Crowe’s script and direction. The film plays like the broad strokes of a screenplay idea, rather than a finished product. It’s as if we are watching filmed rehearsals as a group of writers scramble to connect the story dots … still trying to determine if this is a drama or comedy.

It seems the film was cast with a full-out comedy in mind, but then somewhere along the line, a narrative shift occurred with the hope of making a statement on the privatization of the military and space exploration. There is also an undercurrent of the mistreatment of native Hawaiians, as we are teased with cultural myths, legends and the distrust of the military. Trying to balance these topics with a more traditional romantic-comedy-three-way involving the main characters, results in a disjointed viewing experience that provides only a few chuckles, and a half-baked story of redemption.

The gradual connection of Cooper and Stone (cast as a Navy Fighter Pilot) offers some initial verbal sparring that had potential for comedy gold, but inevitably spun off down a bunny trail of Hawaiian lore or the magic found in the sky. The re-connection of Cooper’s and McAdams’ characters seemed to have continuity holes that might have been left on the editing room floor.  John Krasinski plays McAdams’ husband, and his non-verbal exchanges are the highlight of the film, though the later subtitled version seems lifted from that drawing board straight comedy mentioned earlier.

Bill Murray is cast as the duplicitous billionaire at the core of Cooper’s mission and chance at redemption, though mostly he just acts like Bill Murray with little explanation for his motives. Danny McBride, Alec Baldwin and Bill Camp have their moments, but much more should have been devoted to McAdams’ kids played by Jaeden Lieberher (St. Vincent) and Danelle Rose Russell.

Cameron Crowe seems to have a driving need to examine interpersonal relationships and what causes some to work, while others falter. His film classics Say Anything, Jerry Maguire and Almost Famous are impressive, but also many years in the past. The last fifteen years have produced Crowe projects that teeter between optimism and outright sap. On the bright side, he always has a knack for music, and on that front, he comes through again … “Factory Girl” is blended with traditional Hawaiian songs and even Dylan and The Who. It’s because of this, that you won’t know for sure if your toe-tapping is due to the music or that gut feeling of being cheated.

watch the trailer:

 

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Posted by David Ferguson

IN THE NAME OF MY DAUGHTER (L’homme qu’en aimait trop, Fr, 2015)

May 29, 2015

in the name Greetings again from the darkness. The best French films excel at showing how relationships and personality traits can get intertwined to create a big mess where only a small blip once existed. Based on the book by Renee LeRoux, this film from decorated director Andre Techine is self-described “fiction based on real events” and follows the events that began in 1976, and the fallout over a murder-mystery during the next thirty plus years.

Catherine Deneuve plays Renee LeRoux, the owner of a casino in Nice, and mother to Agnes (Adele Haenel). Agnes returns home from Africa after a split from her husband. She is strong-willed and free-spirited, and intent on cashing out her share of the casino to open her own little shop.

Mother and daughter are tormented by their lack of a close relationship, and this frustration intensifies due to the pressure on Mom’s casino business applied by local mobster Fratoni (Jean Corso), and even moreso thanks to the romantic relationship that brews between Mom’s trusted business advisor Maurice Agnelet (Guillaume Canet) and the much younger Agnes.

Maurice is a well-known (and admitted) Lothario and his business savvy manages to maneuver Agnes into betraying her mother at a crucial time. This betrayal leaves both Maurice and Agnes with a substantial financial gain, while Mom loses her casino. Agnes devolves into obsessed-lover and stalker, while Maurice is content to continue playing the field and enjoy his riches. Soon enough, Agnes disappears without a trace, and of course her mother suspects Maurice has killed her. With no body and no evidence, there can be no murder charges, and this sets Renee on a lifelong mission of proving him guilty.

It’s nice to see Ms. Deneuve take on this role, and the best scenes involve her interactions with Ms. Haenel and Mr. Canet (who wrote and directed the 2006 gem Tell No One). The interactions between these characters is fascinating to watch, and provides some insight to the not-always-positive side of human beings. It’s also a sign of the times as cigarette smoke is present (sometimes in mass quantities) in most every scene, and the French version of “Stand By Me” fits perfectly in a rare moment that lacks tension. The final act provides quite a statement on the justice system in France, though one hates to jump to conclusions based on a few minutes of a movie.

watch the trailer:

 

 

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Posted by David Ferguson

UNFREEDOM (2015)

May 28, 2015

unfreedom Greetings again from the darkness. Societal mores are always slow to change, but the slow acceptance of new cultural ideals pales in comparison to the evolution of religious beliefs and traditions, which can take multiple millenniums for even the smallest revisions. First time director Raj Amit Kumar co-wrote the script with Damon J Taylor, and they seem anxious to point out the out-of-step status of Muslims in regards to both pacifism and sexual orientation.

The structure of the film can be a bit tough to follow as a viewer since there are two seemingly unrelated stories, along with the corresponding flashbacks for character perspective. One story follows an angry idealist has he accepts his assignment for terrorism and travels from Pakistan to New York City. Mohammed Husain’s (played by Bhanu Uday) mission is to coerce (a word much too nice for his actions) pacifist Muslim scholar Fareed Rahmani (Victor Banjeree) into admitting on video that he is a fraud and not a true Muslim. The other story has Leela Singh (Preeti Gupta) as a frustrated lesbian woman in New Delhi who has refused ten marriages arranged by her devout father (Adil Hussain), and finally runs away to meet her choice of lover … artist Sakhi (Bhavani Lee), whose current boyfriend finds Leela’s passion comical – right up until he doesn’t.

A running theme for both storylines, as well as the numerous sub-plots, is specifically stated as “It’s the choice we make when we are most cornered in life that define us”. Solution through violence and torture is consistent through both stories, and as disgusting as the actions of terrorist Husain are, it’s the actions of Leela’s father that are the most stomach churning and confounding. There are a few shots taken at the power of Wall Street, but the actions of greed don’t compare to the more severe and unforgivable actions driven by religious beliefs. The film was originally entitled “Blemished Light”, but it’s difficult to find illumination in this well-acted film that exposes clouded thought processes.

watch the trailer:

 

 

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Posted by David Ferguson

THE AFTERMATH (2015)

May 28, 2015

aftermath Greetings again from the darkness. Watching someone whose life has crumbled due to guilt, grief or drugs makes for an uncomfortable movie to view, but when one character has been crushed by all three, it results in the ultimate downer. Director and co-writer Tim McCall subjects us to life in the proverbial gutter – despite lead character Sonny’s distorted hope.

Sam Trammell (“True Blood”) plays Sonny, a messy drug-addict living in a seedy motel and rummaging through the underbelly of his town. Sonny is trying to arrange a face to face meeting with his estranged wife on their wedding anniversary, so that he can apologize for his behavior during the marriage and during marriage counseling. The problem is that she won’t return his calls, and her family understandably blocks his efforts to make contact. Heck, seems to only own one shirt and he’s not even sure what day it is!

His plan involves stealing the necklace he bought for her during better times – when he owned a business and they had a beautiful home in the suburbs. He later pawned the necklace, which leads to the burglary. Of course, as viewers we quickly gather that his efforts are without hope, though we assume it’s due to his disgusting appearance and inability to stay clean.

Sonny’s wife is played by Trammell’s real life girlfriend Missy Yager, and Vanessa Ferlito (Grindhouse: Death Proof) has a key role as a tough lady who recognizes an opportunity when she sees it … an, though this could never be mistaken for a nature documentary, she teaches us a difference between farm geese and wild geese. But this is Sam Trammell’s spotlight much like Trainspotting belonged to a young Ewen MacGregor. He tears into the not-so-sympathetic Sonny with abandon and a total lack of ego.

Director McCann and Mr. Trammell team up for a gritty and grimy look at the tragic fall from society of a man who made mistakes and refused to own up to them. Filmed in Alexandria, Louisiana, the title describes what we see (outside of the flashbacks), and the musical choices are very fitting – especially Marian Anderson’s “Poor Me”.  Don’t expect joyful moments or a story of redemption … life isn’t always like the movies.

 

 

 

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Posted by David Ferguson

THE SURFACE (2015)

May 25, 2015

surface Greetings again from the darkness. Survival movies come in many shapes and styles. There are classy ones like All is Lost (with Robert Redford) and Life of Pi (Academy Award nominee). There are thrilling ones like The Edge (with Alec Baldwin and Anthony Hopkins). And of course there are the kinda trashy ones that usually feature beautiful and clueless people stuck on an island somewhere like in Turistas (with Josh Duhamel).

What we rarely see are survival movies that just don’t have much going on. Open Water is about the closest to this latest from director Gil Cates, Jr and writer Jeff Gendelman, but at least that one offered the constant threat of a shark attack.

Sad sack Mitch (Sean Astin) visits his Alzheimer’s-stricken mom in the nursing home before heading out to the middle of Lake Michigan in what he plans as his final voyage in life. At the most inopportune time – given his goal – it’s his boat that is rendered lifeless thanks to the scattered pieces of a plane crash. Mitch drags the survivor Kelly (Chris Mulkey) aboard and the two fellows proceed to prove that their philosophizing and reminiscing are no match for the conversational skills of a boy and his tiger (Life of Pi).

Flashbacks are the key to us understanding the reasons these two crossed paths in such an unusual manner. We see Mitch’s guilt and inability to be a worthy partner in a relationship, and we see pilot Kelly’s desperation in trying to making ends meet for his family and regaining his confidence as a man.

There are a couple of funny “guy” moments (the poet comment made me laugh), yet somehow the conversation of these two men in a life-threatening situation pales in comparison to the exchanges of two gents over a meal in My Dinner with Andre. Where is the danger?  Where is the stress?  Where is the soul-searching?  It’s unfortunate that the extended periods of two guys in a boat just don’t have much to offer for the 86 minute run time, because the stage was set for much more than melodrama.

watch the trailer:

 

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Posted by David Ferguson

PREGGOLAND (2015)

May 25, 2015

preggoland Greetings again from the darkness. Understanding women is an unrealistic goal for most men, though we never stop trying. The past couple of years have brought numerous indie films from female filmmakers (writers and directors) and despite all of the new insight, the level of understanding has not really improved … rather it’s become clear that there were many things we men didn’t know that we didn’t know.

Along comes a script written by Sonja Bennett that shines a spotlight on a mid-30’s single woman who is being left behind by her group of friends as they move on to motherhood and family life. Ms. Bennett also stars as Ruth, the party girl whose drunken behavior at a friend’s is not just inappropriate, but also injures a child. Her group of long-time friends decides that Ruth no longer fits in their circle and they inform her that she would be happier in a different social environment.

Ruth’s steady stream of booze and cigarettes, and the fact that she still lives with her dad (James Caan), set her in stark contrast to her “perfect” sister Hillary (Lisa Durupt) who has just announced she and her smartphone-bound husband are working on having a baby. This makes the grandfather-to-be VERY happy. Not long after, in a quirky unfolding of events, Ruth is mistakenly identified as “with child”, and rather than nip the misunderstanding in the bud, the fib is allowed to fully blossom … setting the stage for the entire story.

What follows is a combination of dark humor and slapstick that never quite clicks. By nature, the premise makes the ending somewhat predictable, but there are moments of brilliance in the script. However, it’s the comedy portions that never really bring the laughs … except for one pretty startling site gag sequence involving more Jello than even Bill Cosby has ever seen (is it Ok to make a Cosby reference these days?).

Most impressive is that the vast majority of scenes are between women, and about women. Yes, there is a love interest (Paul Campbell), a demanding dad (Caan), and comedy relief in the form of Danny Trejo, but these are mostly minor players in this perspective of how women treat each other once the “bun in the oven” comes into play. It’s also a commentary on what happens when a little oops is allowed to snowball into a no-win situation.

Director Jacob Tierney’s film has had success at film festivals, and that’s understandable since it’s a nice change of pace from the vast majority of ultra-serious films populating the lineups. While the education effort of female filmmakers continues … most of us men will appreciate the Jello catastrophe, but still end up right where we started – with a glazed-over look, hoping we don’t say the wrong thing.

watch the trailer:

 

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Posted by David Ferguson

BLACK SOULS (Anime nere, Italy, 2014)

May 23, 2015

black souls Greetings again from the darkness. Avoiding the flashiness of Goodfellas or the complexity of another Italian crime family drama, 2008’s Gomorrah, this reserved-on-the-surface film from director/co-writer Francesco Munzi takes us to a small rural village located outside of Milan. In fact, this slow-burner has much in common stylistically with the 2010 Aussie gem Animal Kingdom.

Luigi (Marco Leonardi), Rocco (Peppino Mazzotta), and Luciano (Fabrizio Ferracane) are three brothers who have settled into life after the murder of their father by a rival crime family. Luigi is the hands-on leader of the family’s drug business, and even though he thrives on the power and intimidation, he maintains a relatively low profile. Rocco is the behind-the-scenes businessman of the family enterprise. He and his fashion-forward wife live in a swanky Milan apartment and mostly avoid the front lines. Oldest brother Luciano has forsaken the family biz, and instead spends his days farming and working his goats.

Luciano’s commitment to hard work and a straight life have not rubbed off on his son Leo (Giuseppe Fumo) who is drawn to the danger, money and power of his uncles’ business. It’s young Leo’s fool-hearted actions that kickoff a chain of events putting the family smack in the midst of a possible war of criminal families.

This is no guns-blazing thrill ride of violence. Instead it’s the type of movie that features countless scenes of men huddled in small groups mumbling details of the next important deal. Also, crucial are the non-verbal nods and raised eye-brows – signs that are interpreted as calls to action. We also learn that expressing hope someone lives to 100, is not just a personal insult, but such crass behavior that it brings a group dinner to an awkward halt.

Leather jacket abound, and the threat of violence looms over most scenes. However, it’s the subtlety of the conversations and the quiet nature of the leaders that cause the well-meaning, but immature thirst for revenge from Leo to stand out. Until the twist of the final act, the only two moments of violence are almost surgical in their precision, leaving us with the impression that one’s negotiating skills and loyal friends are every bit as crucial to success as one’s expertise with a gun.

Mr. Munzi’s film (based on the novel from Gioacchino Criaco) is very well directed and photographed, and features some terrific acting that generates the tension necessary to drive the story. It’s a nice addition to the crime family genre, even if it’s not at the level of the three mentioned in the opening paragraph above.

watch the trailer:

 

 

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Posted by David Ferguson

GOOD KILL (2015)

May 22, 2015

good kill Greetings again from the darkness. It sounds like a screenwriter’s workshop: write a story centered on a joystick, a computer monitor, a speaker phone and a shipping container. Most would surrender their Pulitzer dream and head back to the day job. Andrew Niccol, on the other hand, is a talented writer/director known for such projects as Gattaca, Lord of War, and The Truman Show. His story is set in 2010 and is “based on actual events” of drone warfare.

It could seem a bit dated to explore a topic that most have known about for years, but Niccol manages to wring out a story that keeps us engaged and more importantly, encourages discussion about the concept of “video game warfare”.

Ethan Hawke plays a fighter pilot who has been reassigned as a drone pilot after serving 6 tours in Afghanistan. Each day he reports to duty on a Las Vegas base and spends 12 hours locked away in a cramped shipping container staring at a video monitor while delicately manipulating a joystick that can kill people 7000 miles away within 10 seconds. These killer drones have transformed warfare, and as far as I know, this is the first film version dedicated to the daily lives of the men and women serving this duty.

Given what we know about fighter pilots, it’s not surprising that Hawke’s character is crumbling emotionally … missing the danger that comes with a real cockpit. His marriage to January Jones is void of any intimacy or communication (partially due to his alcoholism), though surprisingly, Ms. Jones delivers something other than her typical cardboard cutout performance. Watching the suburban lifestyle of these two – grilling, backyard parties, math homework with the kids – brings nothing new to the screen, but tension is palpable as Hawke and his co-drone-pilot Zoe Kravitz are locked away and forced to follow morally-questionable orders from Langley (voiced by the great Peter Coyote). Put yourself on that joystick and imagine what you would do.

The story pushes us to discuss the dehumanization of war, and the idea that the Air Force is now best described as the “Chair Force”. Especially interesting is the official verbiage used by the CIA and military in an effort to avoid “killing” and “innocent bystanders”. Think about the fact that 3 decades have passed since we got caught up in the thrill of Tom Cruise and Val Kilmer as Top Gun pilots, and now some of the most deadly decisions are made based on a visual feed from a done hovering at 10,000 feet.

Mr. Niccol delivers a thought-provoking movie, which alone sets it above many. The drone’s eye view follows not just the movements of the enemy, but also those of Hawke at home and in his car. Hawke’s commanding officer is played by Bruce Greenwood, who delivers the film’s best line: as Hawke is looking at Greenwood’s fighter pilot photos, he says, you are probably thinking “I must have been a pilot before Pontius”. It’s a great line and one that reinforces how warfare has changed … from boots on the ground to recruits based on their video game savvy.  Surgical strikes are the preferred manner of warfare, so watch this and ask yourself … what would you do?

watch the trailer:

 

 

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Posted by David Ferguson

FELIX AND MEIRA (2015)

May 21, 2015

felix Greetings again from the darkness. This movie is filled with quiet and stillness. Maybe moreso than any movie I can recall. With a backdrop of Montreal, New York and Venice, and a theme of forbidden love and self-discovery, the quiet of the actors belie the undercurrent of emotion driving the three leads.

Meira (Hadas Yaron) is a Hasidic Jew living with her husband Shulem (Luzer Twersky) and their toddler daughter within an Orthodox community where women are forbidden from listening to “outside” music, creating art, or even looking men directly in the eye. Their mission in life is to serve their husband, have lots of babies, and respect the religion. While many women in the community seem fine with their lot, Meira hides records under the sofa, draws pictures in a pocket-sized notebook, and longs for the excitement and color of the real world.

One day, by happenstance, the paths of Meira and Felix (Martin Dubreuil) cross in a neighborhood corner store. He compliments her on her drawing, as she tries to ignore him. By the time they next meet, we have witnessed the painful bedside farewell of Felix to his dying father. It’s difficult to tell which is the stronger emotion here – guilt or grief.

Soon enough Felix and Meira are finding ways to meet, but there is no crazed display of passion between the two. There is a devastating scene as Felix patiently waits while Meira musters the courage to actually look into his eyes. It’s like 50 Shades of Restraint. It turns out, for different reasons, these two lost souls share a common bond of loneliness. Meira‘s individuality and creativity are stifled by religious oppression, while Felix is coming to grips as the black sheep of a family that no longer exists. When Felix says of his father, “He hated me to death. And then he died.”, we understand it’s the missed opportunity that weighs on him more than the passing of a long-lost parent.

Music plays a vital role in how director Maxine Giroux presents the characters and the story. Wendy Rene’s “After Laughter Comes the Tears” is used beautifully, as is Leonard Cohen’s “Famous Blue Raincoat”. Heck, even a mousetrap becomes music to the desperate ears of Meira. As stated before, the film is incredibly quiet, and I challenge any movie lover to come up with a more painful argument than the one featuring Meira and Shulem whispering at each other from separate beds, or a more powerful scene with fewer spoken words than Shulem and Felix at the kitchen table. On the bright side, watching her walk around in her first ever pair of jeans is a freeing sight to behold.

Mr. Giroux presents something very real, yet outside the bounds of what cinema usually brings when forbidden love, religion, loneliness and grief are involved. Ms. Yaron delivers an astounding performance, and it’s little wonder this has been such a hit on the festival circuit.

watch the trailer:

 

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Posted by David Ferguson

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