THE SECOND BEST EXOTIC MARIGOLD HOTEL (2015)

March 5, 2015

second best exotic Greetings again from the darkness. It’s been about 4 years since the delightful first film, based on Deborah Moggach’s novel, was a box office hit. My review of that film was the first time I used the phrase “gray cinema” – describing a growing genre specifically targeting the aging population. Neither director John Madden nor writer Ol Parker have had much going on since, and they re-team for this sequel that should satisfy most of the sure-to-return core audience.

Spirited and energetic hotelier Sonny (Dev Patel) is back and has his sights set on expansion to a nearby second property. Most of the original residents are also back: Judi Dench, Maggie Smith, Bill Nighy, Celia Imrie, Ronald Pickup, and Diana Hardcastle. Lilette Dubey returns as Sonny’s mother, Tina Desai is now his fiancé, and Penelope Wilton resurfaces after dumping Bill Nighy in the first movie. New faces to the scene include Richard Gere, Tamsin Greig and David Strathairn, along with a few other lesser, but effective supporting roles.

A similar extended pre-opening credit sequence is again utilized to catch us up on the status of the regulars. Maggie Smith is now co-managing the hotel. Judi Dench is a buyer of local fabrics. Bill Nighy is a willing, but inept tour guide. Celie Imrie is juggling two wealthy suitors. Ronald Pickup and Diana Hardcastle are working – at jobs and at a relationship. Mr Patel and Ms Smith take a business meeting to the U.S. to meet with Mr. Strathairn with a design on financing the second property. Mostly the trip is an excuse for Dame Maggie to crack wise about us uncultured Americans, and few can deliver a one-liner like this lady.

It’s also on this trip, where Patel’s character begins a change in tone. In the first movie, his character was eager, naïve, pleasant and charming. This time, his ambitious nature is over-the-top and actually quite annoying (by design yes, but still annoying). This single feature affects the pleasant nature and unnecessarily puts us on edge and prevents us from connecting with a key character.

What’s very clear is that this film misses the structure of Ms. Moggach’s novel, and the numerous sub-stories come at us so quickly that every character is mostly surface level with no real depth allowed. The best exchanges are between Ms Dench and Ms Smith (one being 19 days older than the other), while poor Mr Nighy is treated like a wounded puppy for much of the story. Also lacking is the cultural clash so prevalent in the first, and instead we witness a group that has acclimated to the surroundings preventing any real interesting conflict – though the colorful sights of town are still amazing to see. The “high-speed” tuk-tuk chase adds an element of humor, and of course we get the Bollywood-style dance number at the end of Sonny’s wedding to Sunaina (Tina Desai).

Despite the flaws, there are still plenty of laughs and loads of charm, and it’s certainly a pleasure to see a welcome response to the question “Is age a barrier to happiness?”. The actors and the setting make this an enjoyable two hours, though some may question the attempt at a deeper philosophical approach at the end.

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GETT: THE TRIAL OF VIVIANE AMSALEM (2014)

March 5, 2015

Gett Greetings again from the darkness. Personal views on Politics and Religion are purposefully avoided in my film reviews as I prefer to view the work from the perspective of art and storytelling. Sometimes, however, a film exposes such an injustice that stifling one’s opinions is just not practical. Such is the case with this latest from the brother-sister co-directing and co-writing team of Ronit and Shlomi Elkabetz.

This is the final piece of the creative siblings’ trilogy on Israeli marriage that began with To Take a Wife (2004), and was followed by 7 Days (2008). That’s right, the two characters of husband Elisha (Simon Ebkarian) and wife Viviane (played by director Ronit Elkabetz who was also in the excellent 2007 film The Band’s Visit) have been followed through the stages of marriage, separation, and now divorce court. Only their divorce court is not what most of the world thinks of when we hear that term. In Israel, divorce is not a civil matter, but rather falls under Jewish law and the proceedings are overseen by a triumvirate of rabbinical judges. If that’s not difficult enough to stomach … it’s the husband who holds ALL the power. The husband must agree to grant his wife the divorce. Without his permission, the judges can do nothing and the wife is bound to the marriage.

With the story unfolding almost exclusively in the bleak courtroom, Viviane trudges through delays, no-shows, desperate negotiations, and other time-wasters; only occasionally succumbing to an outburst, rather than her usual quiet dignity. Elisha maintains a seemingly proud and determined look when he does show for hearings, only periodically shooting a look of disgust at his wife. His confidence stems from the power in knowing that grounds for divorce do not include irreconcilable differences. The camera work puts us right in the courtroom and we soon recognize Elisha’s mannerisms as not just passive-aggressive, but also manipulative and misguided. He is not an awful man, but this is an awful marriage.

Long a fan of courtroom dramas, I was mesmerized by the dumbfounding process as well as the stellar performances, excellent script and POV camera work. Ms Elkabetz is terrific as Viviane, and her work is complimented by Mr Ebkarian as her husband, Sasson Gabay as his brother and advocate, and Menashe Noy as her advocate and admirer. The film is a strange blend of hypnotic and infuriating and heart-breaking. It’s uncomfortable to watch, but one we can’t turn away from … especially as Viviane shouts “You don’t see me!” to the judges.  Her pleas are the perfect bookend to a film that begins by ignoring her presence in the courtroom (we don’t see her face for the first few minutes).

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OCTOBER GALE (2014)

March 2, 2015

october gale Greetings again from the darkness. Writer/Director Ruba Nadda likes to explore human nature and unexpected romantic attraction. She did this in Cairo Time (2009) and does so again here in this excruciatingly slow-moving “thriller” with an interesting beginning, muddled middle, and a final act that reminds of wet fireworks … a dud. On the bright side, actress-extraordinaire Patricia Clarkson never allows us to lose interest.

I’ve often written of my enjoyment of slow-burns and slow-builds for thrillers, and the best manage to generate a sense of caring from the viewers as they move towards the climax. Unfortunately, this one offers little more than an intriguing premise that places one ridiculous development on top of the next.

Patricia Clarkson plays a doctor whose beloved husband has recently passed away and she heads to their lake cottage for some peace and quiet. Not long after, an injured Scott Speedman shows up in her living room. Being a doctor, she performs bullet-removal surgery with needle-nosed pliers, and then of course, finds herself attracted to the young gunshot victim who is being hunted by the father of a guy Speedman killed.

We know the showdown is coming, but it seems to take forever to arrive, and then is pretty anti-climactic despite the presence of Tim Roth as the revenge-seeking father. The romantic attraction is pretty far-fetched and plays like a Nicolas Sparks story, or even a 1990’s Tom Berenger or Ashley Judd thriller.

The focus on death could have gone much deeper, psychologically speaking, and there is a brief scene where Roth tells Speedman “You always think there’s going to be more time” that leads us to believe things are going to get really interesting. Instead more attention is given to the unlikely romance and the kinda hokey manhunt. Fortunately, the cinematography around beautiful Georgian Bay helps offset the story and the manipulative score, and of course watching Patricia Clarkson and Tim Roth work is always somewhat satisfying.

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HUMAN CAPITAL (Il capitale umano, Italy, 2014)

February 26, 2015

Human Capital Greetings again from the darkness. The financial crisis-manslaughter-class warfare-thriller from novelist Stephen Amidon shifts from Connecticut (in the book) to just outside of Milan for director Paolo Virzi’s look at class and character.  A term used by insurance companies to calculate the value of a human life in settlement cases, “human capital” carries even more meaning in this twisted tale of greed and broken dreams.

After an opening sequence that shows an off-duty waiter getting knocked from his bicycle by a swerving SUV in the dark of night, the story is divided into chapters that provide the various perspectives of different characters affected by this hit-and-run. Dino (Fabrizio Bentivoglio) is a middle-class real estate business owner whose girlfriend (the too rarely seen Valeria Golino) is pregnant with twins, and his daughter Serena (Matilde Gioli) is dating a private school classmate Massimiliano (Guglielmo Pinelli) who comes from the upper crest Bernaschi family that is living the dream thanks to the dad’s (Fabrizio Gifuni) hedge-fund success.

It’s easy to see how the lives of these two families become intertwined, and how a few other characters are also affected, but the real joy here is in getting to know each through their own actions. Dino desperately wants a taste of the finer things in life, and risks everything by fraudulently obtaining a bank loan in order to buy into Bernaschi’s hedge fund. His wife Roberta is a trusting and pure-hearted woman who accepts her place in society and warmly looks forward to being a new mom. Their daughter Serena proves to be the best judge of character and soon enough boots the spoiled kid Massimiliano to the curb, while connecting with the artistic and misunderstood Luca (Giovanni Anzaldo), though even Serena’s moral compass shows its cracks.

Bernaschi is a smooth operator and the perfect face for a hedge fund so dependent on the financial collapse of its own country. His wife Carla (Valeria Bruni Tedeschi) is a lost soul … enjoying the perks of a wealthy lifestyle, but still holding on to her artistic dreams of youth. Life as a trophy wife is evidently not so fulfilling for those with their own aspirations. Their son Massimiliano, as you might imagine, is unable to live up to the expectations of his father, and frequently handles his perceived lack of parental attention by over-boozing at every opportunity.

This film was Italy’s submission to the Academy in the Best Foreign Language category, but unfortunately did not make the final cut. It is rich in texture and remarkable in its ability to convey depth in so many characters. The basic story has some similarities to the film 21 Grams, in that we witness the many ways in which people handle crisis. In this case, the mystery of the initial sequence is left unsolved until near the end, but there are so many personal “fork in the road” moments, that solving the case of the cyclist death somehow doesn’t monopolize our thoughts.

Excellent acting throughout allows us to connect with each of the key characters, and especially worth noting are Valeria Bruni Tedeschi and Matilde Gioli. Ms. Gioli is a newcomer with a bright future. She brings believability and strength to a teenager role that would more typically be over-the-top or one-dimensional in the hands of a lesser actress. Even more impressive is the performance from Ms. Bruni Tedeschi who perfectly captures the heartbreak of a woman living a life others can only dream about, while her own dreams are but shadows from the past.

With source material from a U.S. novelist, and subject matter involving the 1% and crisis of conscience, it’s not difficult to imagine an American remake, but this version is highly recommended for those who enjoy a multi-faceted dramatic thriller.

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McFARLAND USA

February 18, 2015

mcfarland Greetings again from the darkness. “A Disney movie” was once synonymous with good-hearted family fare. Even though the lure of big box office has caused the studio to expand their film boundaries a bit, no one does it better when the material is a heart-warming, inspiring story … especially if based on a true story. This latest has less in common with The Mighty Ducks, and more with Miracle, The Rookie, and Dreamer.

Based on a true story that began in 1987, Kevin Costner plays high school coach Jim White, who after a couple of unfortunate incidents, finds himself with a not so desirable teaching/coaching gig in the San Joaquin Valley in central California – specifically the poverty stricken farming community of McFarland. To say that life is hard in McFarland is a bit of an understatement. The families are mostly Hispanic and heavily dependent on crop picking. Once the kids are age 10, they are put to work in the fields before and after school.

Toting their prejudices, Coach White and his wife (Maria Bello) and two daughters (one whom you will recognize from TV’s “Homeland“) arrive as outsiders, but quickly discover their neighbors are very proud people who value family and community. Coach also discovers that the area boys have developed a natural ability to run distances in the heat, so he forms a school cross country team, and the rest is literally history. The runners dominate the California state meet by winning 9 of the next 14 years, and many of the boys go off to college – something previously not even a remote dream for most.

Since this is Disney, most of the jagged edges are rounded off. Crime, discrimination, politics, racism, and poverty are present, but do not receive much attention. Director Niko Caro (Whale Rider, North Country) does nice work in keeping the story grounded and focused on the individuals. We get a feel for the skepticism and family obstacles faced by this first group of runners. More importantly, we witness the pride and involvement as the boys begin to have some success, and the sense of belonging that sneaks up on White and his family.

Costner does get a shot at a motivational speech, but it’s small in scope and wonderfully centered on what the boys have accomplished, rather than some unrelatable shot at changing the world. Seeing him on a “Barbie” bike brings a laugh, as does some of the high school boy chatter directed at their duck-out-of-water coach. We don’t really get to know the individual boys too much (some are actors, some are actual McFarland students), but the end credit video recap of where they are now (27 years later) really hits home as to the importance of guidance and mentorship for youngsters.

The film is extremely pleasant and the story’s roots in the real world lend credence to the inspirational message and underdog-overcoming-obstacles story. It’s also a reminder that opportunity to make a difference is all around us. Just look what Jim White and runners have accomplished!

**NOTE – for Bull Durham fans, Visalia is just up the road from McFarland (bringing Costner full circle).

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THE DUFF (2015)

February 18, 2015

duff Greetings again from the darkness. I was never a teenage girl, and for that, I am quite thankful. By comparison, being a teenage guy was a breeze. No filmmaker was better than the great John Hughes at capturing the challenges of high school … especially for girls. The mysteries of adolescent social hierarchy has long been a favorite movie target, and director Ari Sandel (Oscar winner for his short film West Bank Story) and screenwriter Josh Cagan loosely base their film on the novel from Kody Keplinger.

Mae Whitman (from TV’s “Parenthood”) stars as Bianca, a very smart student who enjoys hanging with her two best friends Casey (Bianca Santos, Ouija) and Jess (Skyler Samuels). That all changes one evening at a party when Bianca’s neighbor, and the school’s alpha-jock, Wesley (Robbie Amell, Firestorm in TV’s “The Flash”), informs her that she is the titular “DUFF” … Designated Ugly Fat Friend. The term itself is quite offensive, but the movie does its best to soften the blow by explaining that it doesn’t necessarily mean ugly or fat – a confusing turn, but fortunate since Ms. Whitman is neither.

As you might imagine, the familiar terrain of teen angst movies is covered and any hope of real insight is dashed pretty early on. However, it does spend a significant amount of time driving home the point that social media plays a dominant role in every aspect of teen life these days, including cyber-bullying. It’s no wonder that insecurities abound … one never knows when their trip to the mall or make-out session with a mannequin will become a viral video.

There are familiar aspects of such classics as Pretty in Pink, She’s All That, and Mean Girls. Robbie Amell even looks very much like Michael Schoeffling from Sixteen Candles. However, the film features two of my movie pet peeves. First, Mae Whitman and Robbie Amell are both in their mid-20’s – entirely too old to be playing high school students. Secondly, Mr Amell plays a jock but clearly cannot throw a football like one – and he does it three cringe-inducing times.

Mae Whitman has excellent screen presence and comes across as a blend of Janeane Garofalo, Ellen Page, and Aubrey Plaza. That’s pretty high praise, but she elevates a script that needs it, and holds her own with screen vets like Allison Janney (as her distracted mom) and Ken Jeong (as her slightly loopy journalism teacher).

The film is a commentary on today’s high school life, but the predictability and obvious gags prevent it from ever going too deep or appealing to any audience other than “tweeners”. Still, any film that smacks down the nasty people (here played by Bella Thorne) and advises to be true to one’s self, can’t be all bad.

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LOVESICK (2014)

February 8, 2015

lovesick Greetings again from the darkness. If you have been looking for proof that there is a difference between “crazy in love” and “crazy and in love”, this first feature film from director Luke Matheny (God of Love, Live action short film Oscar winner in 2011) should end your search. It’s also a return to the big screen for Matt LeBlanc, who, despite an extremely successful TV career (“Friends“, “Episodes“), has never quite clicked with movie goers.

Mr. LeBlanc stars as Charlie Darby, an energetic elementary school principal beloved by his students and liked by everyone … except those with whom he falls in love. In what comes across as a Dr Jekyll and Mr Hyde syndrome, Charlie’s charms and romantic notions make it easy for him to connect. But once he falls, a psychotic reaction occurs within his brain and he becomes sociopathically jealous and paranoid and worried sick about things that might happen and things he has imagined to have happened. Charlie’s love reactions are played for laughs, but there is also a sense of sadness and danger that is left unexplored.

Writer Dean Young (“King of the Hill“) goes for the conventional approach despite Charlie’s unconventional affliction. The laughs are small rather than guffaws, and LeBlanc’s genuine likability makes us pull for him to break free from this socially crippling behavior. Adam Rodriguez (“CSI: Miami“) plays Jason, Charlie’s very supportive best friend, and the narrator of the story. His character provides what little insight we get into what happens to Charlie. Ali Larter plays Molly, the most recent object of desire for Charlie. Larter and LeBlanc are very good together, but that doesn’t ease the awkwardness of Charlie’s reactionary ways.

Other supporting work is provided by Chevy Chase, as Charlie’s lonely porn-addicted neighbor (a glimpse at Charlie’s future?); Kristen Johnston as an ex-girlfriend and counselor trying to help; the always funny Rachael Harris as a vile and disgusting Charlie date; and the wonderful Connie Sawyer as Nana Bebe. If you are unfamiliar with Ms. Sawyer, she recently turned 102 years old and has appeared as Mrs. Sullivan in a couple of “Ray Donovan” episodes, plus most every seminal TV series since the 1960’s (except, ironically, “Friends“).

Most will find the movie likable … just like its star. It’s best if you not expect a story with an edge or any real insight into human nature or relationships. The screwball musical score is enough to remind us that the film is not taking a serious approach to Charlie’s psychotic affliction, yet it does remind us that we all go a bit crazy when we fall in love – let’s just hope that it’s not a Charlie-type crazy.

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CAKE (2014)

January 30, 2015

cake Greetings again from the darkness. This completes what I call the triumvirate of female film misery: Julianne Moore in Still Alice, Marion Cotillard in Two Days, One Night, and now Jennifer Aniston in Cake. Each film focuses on the physical and emotional struggles of a previously strong female character adjusting to life’s cruel obstacles.

Claire (Ms. Aniston) is a former attorney in constant chronic pain who appears to be on a mission to make everyone around her as miserable as she is. The scars on her face make it obvious she has survived some trauma, and it’s also clear that there is an additional emotional loss that is contributing to her situation. However, director Daniel Baraz (Beastly) and writer Patrick Tobin tease us for awhile with exactly what tragedy Claire is working through. Further proof of her lack of charm comes when her support group (led by Felicity Huffman) boots her out after an especially uncaring rant.

Claire takes a bizarre interest in researching the suicide of one of the group’s members (Anna Kendrick). This leads to some uncomfortable interactions with the woman’s husband (Sam Worthington) and their young son, and even more bizarre interactions – through dreams and hallucinations – with the Kendrick character (yes, the dead one). Claire’s abusive persona comes through in these moments, just as it does with all other people who dare cross her path … especially that of her caregiver Silvana (a wonderful Adriana Barraza, Babel).

Many have used the dreaded “snub” term to describe Aniston not receiving an Oscar nomination. My perspective is that she does a fine job in a role that is stunning in its variance from her typical fluffy rom-com roles. However, it is not a performance that I would favorable compare to Julianne Moore, Marion Cotillard or Felicity Jones. To see America’s sweetheart go 90 minutes sans make-up and with unkempt hair is a welcome change, but the script contrivances and the choppiness of the presentation – a stream of big name actors make single scene appearances – do nothing to help the case for Aniston. In fact, I would still rate her work in The Good Girl as her best.

The trend of glam-downed actresses is welcome, though it’s important to remember that a full-bodied script is still necessary for a quality movie. Other than the language, this one felt like it was more in line with a Lifetime movie. However, it does provide hope that Ms. Aniston will devote more time to dramatic roles and indie films.

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TWO DAYS, ONE NIGHT (Deux jours, une nuit, Belgium, 2014)

January 29, 2015

two days one night Greetings again from the darkness. The Dardenne Brothers (Jean-Pierre Dardenne, Luc Dardenne) are filmmakers who excel at forcing us to take notice of human nature. This time they take the unusual step of working with an A-lister in Marion Cotillard, yet rather than create a distraction, this works for making the lead character even more realistic and believable.

Sandra (Ms. Cotillard) is a working class wife and mother who has gone through recovery after a bout with severe depression. She has been on leave from her factory job and now uses her Xanax as a crutch when she gets a little anxious. Just as it’s time for her to return to work, she learns her co-workers chose a bonus over allowing Sandra to keep her job, through some type of cruel vote facilitated by company management.

Sandra’s friend Juliette (Catherine Salee) encourages the boss to allow a re-vote on Monday, and Sandra’s husband (Dardenne regular Fabrizio Rongione) advises her to visit each of the 16 co-workers and request that they reconsider their vote. Though she would rather curl up in bed, Sandra’s trek to visit each co-worker takes every ounce of courage and energy she can muster.

This is a fascinating study of economic realities vs human nature, even right vs wrong. Can these people look beyond what is best for themselves and do the right thing for Sandra? These individual meetings are excruciating to watch. Asking each person to vote for her is agonizing for Sandra, while each of the co-workers has their own personal struggles that make the decision not so simple.

Marion Cotillard is a revelation here. This is not the glamorous movie star you might think of. Instead, she dresses down, wears minimal make-up, and walks and talks like the desperate working class woman she is playing … all while carrying the burden of a clinical depressed person. Mostly, she taps into an emotional state that is powerful to watch. The Oscar nominated is definitely justified.

While it seems the suspense of each scene is almost more than Sandra can take, there is a moment of release and joy during the sing-along with Van Morrison (on the radio). The character of Sandra defines “putting up a good fight”, and she proves that sometimes that is the most important thing.

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STILL ALICE (2014)

January 29, 2015

 

 

still alice Greetings again from the darkness. I’ve never understood the phrase “cruel disease”. Are there diseases that aren’t cruel? One could say the level of cruelty is determined by how the disease affects you and your loved ones, but a stunning performance by Julianne Moore provides a glimpse of what Alzheimer’s does to those afflicted. She shows us what it’s like when we are robbed of what makes us who we are.  And yes, it’s very cruel.

Most “disease” movies spend a significant amount of effort demonstrating how this will affect the victim’s family and friends, but co-directors Richard Glazer and Wash Westmoreland have adapted Lisa Genova’s novel to focus on Alice (Ms. Moore) … her family is mostly trotted out to help the viewer understand how the disease has progressed. We first meet Alice on her 50th birthday, and soon learn she is a brilliant Linguistics Professor at Columbia and has 3 brilliant kids (Kristen Stewart, Kate Bosworth, Hunter Parrish) and a brilliant husband (Alec Baldwin). These are brilliant, successful and beautiful people. And that’s one of the points here … Alzheimer’s doesn’t pick on the poor, the slow or the weak. It doesn’t discriminate at all (other than a slightly higher rate amongst women).

Julianne Moore somehow is equally effective as the energetic, very confident professor and the shell of a person with vacant eyes who only periodically recognizes the face in the mirror or the faces at the family meal. This is a movie and a performance about moments … moments of panic, isolation, and one particular moment of unleashed emotion when Alice comes clean to her husband early on. We hear the fading of her verbal skills (in her speeches) and we witness the slow fail of her body (she was once a runner). It’s torturous to hear and see.

There have been other movies that touched on Alzheimer’s: The Notebook (2004), The Savages (2007), and Away From Her (2007), but Julianne Moore is the first to take us inside, to force us to feel the slow loss of self. It’s painful, and yes it’s cruel.

**NOTE: that is Julianne Moore’s son (with director Bart Freundlich) playing guitar on the park bench near the end of the movie

SEE THIS MOVIE IF: you want to see a personal portrayal of Alzheimer’s rather than reading a brochure OR you want to see the likely Oscar winner for Best Actress

SKIP THIS MOVIE IF: you and your family have been touched by Alzheimer’s and you need no reminder

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