THE DISAPPEARANCE OF ELEANOR RIGBY (2014)

September 21, 2014

eleanor rigby Greetings again from the darkness. It’s tough and probably unfair to write about a film project when key pieces remain unseen. Writer/Director Ned Benson‘s brilliant first take on the story was released at Toronto Film Festival in two perspectives: “Him” and “Her“. A massive re-edit produced “Them“, this version for theatrical release. As you might expect, knowledge that more exists … and in probably a more effective story telling format … renders us a bit frustrated with the blended version. Still, there is plenty here to warrant a look.

This viewer’s frustration stems mostly from the long and winding road we travel understanding something tragic has caused the split between El (the titular Eleanor Rigby) and Conor, but only being teased with details. We are offered a brief glimpse of their happy times, but never get to know them as a happy couple. Instead, Conor is shown trying to re-assemble the pieces, while El tries to move on to a different puzzle altogether.

While the story unfolds in teeth-grinding fashion, it doesn’t offset the powerful emotion and personal intensity brought to the screen by both James McAvoy (Conor) and Jessica Chastain (El). Mr. McAvoy has quietly evolved into one of the more interesting actors working, while Ms. Chastain proves herself to be among the best each time she crawls inside a role and makes it her own. We feel for each of them, before we even really know them at all.

Other superb work comes from a sterling supporting cast that includes screen vets William Hurt, Isabelle Huppert, Viola Davis and Ciaran Hinds; as well as Bill Hader, Jess Weixler and Nina Arianda. That’s seven characters (plus the two leads) of which we yearn to learn more. Ms. Davis is especially effective in her all too brief appearance as a professor cutting El very little slack. And Mr. Hurt delivers a terrific monologue that strikes a chord.

So all of these wonderful pieces make for an spell-binding what-if that possibly gets answered in the dual-perspective version. The coldness and lack of understanding in the first 45 minutes can’t offset the emotion and sadness that each character feels. Rumor has it that “Him” and “Her” will get their release this year, and if so, I’ll be there in an attempt to complete both puzzles.

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Posted by David Ferguson

A WALK AMONG THE TOMBSTONES (2014)

September 18, 2014

tombstones Greetings again from the darkness. Welcome to the annual off-season gift from Liam Neeson. Seemingly every year, he provides us with a February or September release that requires his particular set of tough guy skills. This time, he plays Matthew Scudder – of the popular Lawrence Block crime novel series (17 books).

Director Scott Frank (The Lookout) works to create a 1970’s feel, although the film opens up as a flashback to 1991, and quickly fast forwards to 1999 NYC. There are no shortage of clichés here, yet nothing is over the top; and the bleak, somber, usually rainy setting establishes the tone that fits with “unlicensed” private detective Scudder’s preferred method of living and detecting.

Of course, Scudder is a recovering alcoholic and former cop, with a tragic, careless incident on his record and conscience. The film is so ever-bleak, that the moments of humor … though often awkward and out of place … are quite welcome. The only shining light of innocence comes courtesy of a sharp homeless kid named TJ, played by Brian “Astro” Bradley. TJ is a Philip Marlowe wannabe, and quickly assumes the role of Scudder’s partner/intern/IT Department.

Bad guys are everywhere. Even the serial killers (David Harbour, Adam David Thompson) target the family members of criminals, so as to minimize the involvement of the proper authorities. As an improper authority, we can’t ask for better than Liam Neeson. He works for “favors”, not a paycheck. It should also be noted that this time, he is more likely to outwit the bad guys, than kick their butts.

Other support work comes courtesy of Dan Stephens (“Downton Abbey“), Boyd Holbrook, and creepy cemetery groundskeeper (is there another type?) Olafur Darri Olafsson, who creates yet another memorable character with limited screen time (see “True Detective“).

Mr. Neeson gets plenty of telephone action, which plays right into the strength of Taken, and it’s pretty amazing how much WALKING he does throughout the story. He looks great walking in his duster, but it seems a bicycle would be more efficient … though admittedly, much less intimidating. As a whole, though the movie is probably a bit familiar, it’s the little details and the powerful Liam Neeson that makes it a welcome late summer release.

**NOTE: the character of Matthew Scudder previously appeared on screen in the 1986 Hal Ashby film 8 Million Ways to Die, and was played by Jeff Bridges.

watch the trailer:

 

 

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Posted by David Ferguson

A FIVE STAR LIFE (Viaggio solo, Italy, 2014)

September 16, 2014

5 star life Greetings again from the darkness. Italian movie star Margherita Buy plays Irene, a luxury hotel inspector who travels the world testing picture frames for dust, bed covers for wrinkles, and hotel staff for smiles. Directed and co-written by Maria Sole Tognazzi, the film left me baffled as to why such a talented filmmaker presented such a dead-end trip for the viewer.

Within the first five minutes, we fully “get” Irene and we understand exactly where the movie is headed, provided it follows all overused story clichés (it does). See, Irene has things backwards. She lives in 5 star hotels and takes her brief respites with her nieces, her ex, and her sister. Most of us live with our families and vacation at resorts.

The world class hotels are breathtaking to see, but mostly the movie drags while we wait for Irene’s comeuppance. One segment of the story provides a spark of hope. Lesley Manville (recognizable from numerous Mike Leigh films) appears as a feminist author who lives life to the fullest and preaches realities that strike a chord with Irene. Unfortunately, this plot line is short-lived and the most interesting character disappears as quickly as she arrived.

Irene is single, but maintains a very close relationship with her ex (a very good Stefano Accorsi). Irene has no kids, but periodically spends time with her young nieces. Irene has no close friends, but spends time with her family-centric sister (a very interesting Fabrizia Sacchi). She does all of this without actually committing to living a real life, as she quickly escapes on her next mystery guest mission.

The film begs for comparison to the superior Up in the Air, which allowed for secondary character development … an element only teased in this film. Ms. Buy is very talented, but the script just makes this seem like a luke warm room service meal. We already know that there is no comparison in a dream job versus a dream life.

**NOTE: The Italian title is “Viaggio solo”, which translates to I Travel Alone. There is no good reason for changing the title for its United States release … probably decided by a marketing committee.

watch the trailer:

 

 

 

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Posted by David Ferguson

LOVE IS STRANGE (2014)

September 13, 2014

love is strange Greetings again from the darkness. In a remarkable opening 6 to 8 minutes, we see John Lithgow and Alfred Molina prepare for, execute, and celebrate their official marriage after almost 40 years together. During this sequence, we quickly understand that Ben (Lithgow) is the emotional one, and George (Molina) is the pragmatic, balanced one. The brief ceremony is filled with love, admiration and happiness, and leaves us with no doubt that these two are dedicated to each other.

Director Ira Sachs (Married Life, 2007) also co-wrote the script with Mauricio Zacharias, and the film excels while Lithgow and Molina are on screen together. It comes across as a contemporary version of the 1937 Leo McCarey film Make Way For Tomorrow (with Beulah Bondi) and highlights the obstacles faced by an elderly couple who face financial hardships, New York real estate misery, and the not-so-welcome generosity of friends and family.

The gay component is not played up, rather the story is told in straight-forward manner as the couple is forced to live apart, and deals with loneliness and unease as they each feel out of place living in a party house with friends (Molina) and sharing a bunk bed with a typically awkward teenage boy played by Charlie Tahan. The boy’s parents are Marisa Tomei and Darren Burrows, who face their own marriage and parental issues.

The happiness of the opening wedding ceremony quickly dissipates into real life misery for all characters. The only happy people are the grown men playing a Game of Thrones board game. Literally everyone else is unhappy, or at least disinterested.

Although conflict is ever-present, the Catholic Church is the closest to a real villain. John Curran plays a Priest in the terrific scene in which Molina is fired (because of his wedding) from his Catholic School teaching job. The poor town of Poughkeepsie takes a couple of shots as well, but mostly it’s the pent-up frustrations of Tomei, the passive-aggressive approach of a few other characters, and the crazy teenage mood swings of Tahan’s character that keep Ben, George, and we as viewers quite uncomfortable. Instead, the joy comes from the subtle moments courtesy of the two leads. See this one for the performances of Lithgow and Molina, and for the beautiful Chopin piano throughout.

***NOTE: this makes a fine movie, but it’s easy to imagine it as a much more effective live production on stage

watch the trailer:

 

 

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Posted by David Ferguson

THE DROP (2014)

September 13, 2014

drop Greetings again from the darkness. Much of what I write here contradicts my long maintained stance that a strong story/script is the basis for any movie worth it’s proverbial weight. This neighborhood crime drama does not spin a twisty plot. Nor does it flash fascinating and colorful mobsters. Instead, it’s the acting that elevates the film to the point of neo-noir must see.

By now you have heard that this is James Gandolfini’s final movie. He passed away while director Michael Roskam (Bullhead) was in editing mode. Gandolfini plays Cousin Marv, a would-be wise-guy who never-really-was.  Now he is bitter and desperate, in a beaten down kind of way. As a farewell, Gandolfini leaves us a final reminder of what a powerful screen presence he was, and what a terrific feel for character and scene he possessed.

Beyond Gandolfini, the real attraction and the main reason to see the film is the outstanding and mesmerizing performance of Tom Hardy. In many ways, his bartender Bob is the polar opposite of his infamous Bane from The Dark Knight Rises. Quasi-effeminate in his vocal deliverings, and moving with a slow, stilted shuffle, Bob is one of the least imposing guys.  The kind that you would likely look right through. At least that’s the first impression. Hardy is so nuanced, we aren’t even certain when his character transitions and exposes his true make-up. When he does, it’s the highlight of the film.

Noomi Rapace, in yet another intriguing turn, plays local waitress Nadia, who befriends Bob after he rescues an abused puppy. Since the movie is based on Dennis Lehane’s short story “Animal Rescue”, it’s no surprise that the main characters each share a need to be rescued. Nadia’s ex-boyfriend is played to full psycho and creepy effect by Matthias Schoenaerts (so great in Rust and Bone, 2012). The scenes between Schoenaerts and Hardy show the movie at its tension-filled best.

As with most neighborhood crime dramas, there are many secrets, local legends, and allegiances in doubt. The players are weary and dream of either better times or ending the misery. Mr. Lehane wrote the novels that led to some other fine films: Mystic River, Gone Baby Gone, and Shutter Island. He has a feel for ultra-realistic characters, and his material depends on extraordinary acting for fulfillment. This slow boil benefits from some of the best acting we could ask for.

**NOTE: all due respect to the late, great James Gandolfini … we get a glimpse of him “running” from a crime scene, and his athletic prowess does detract from his otherwise imposing screen presence.

**NOTE: how good must this be if I went the entire review without mentioning Ann Dowd or John Ortiz … two excellent actors who play small, vital roles?

SEE THIS MOVIE IF: you need further proof that Tom Hardy is one of the more talented actors working today OR you bask in the atmospheric neighborhood crime drama genre (this is a good one) OR you just want to see a really cute pit bull puppy.

SKIP THIS MOVIE IF: like me, you find it impossible to “unsee” a glimpse of James Gandolfini running on screen, in spite of his towering presence and acting ability.

watch the trailer:

 

 

 

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Posted by David Ferguson

HERO (2014)

September 12, 2014

hero Greetings again from the darkness.  This is a Christian Faith-based message movie designed to encourage more dads to get involved with their son’s activities.  Youth baseball is the game of choice here, placing it right in my wheelhouse (as a long time volunteer youth baseball coach).

Familiar faces are sprinkled throughout the production, including Burgess Jenkins and Gregory Alan Williams, both from Remember the Titans (2000).  Mr. Jenkins plays Joe Finn, a local baseball legend, who coached his son David’s (Justin Miles) team to the championship seven years earlier (as seen via flashback).  When tragedy brings Joe back to town, it’s clear David is harboring frustration and anger towards his dad, who had abandoned his family for a job opportunity. David’s bitterness is in the early stages (known as disappointment) and he doesn’t understand why Joe is so intent on “fixing” the problem of uninvolved dads with the team David is coaching.

Social commentary abounds as we recognize many familiar themes – dads that are just too busy, dads chasing the brass ring, dads who have made some poor decisions. It seems many dads are fine with placing the burden on the coach, and vital life lessons have not yet been taught: discipline, respect, good work habits. This message could just as easily been delivered via school teachers, with as many parents hiding behind “you are the teacher” as “you are the coach“. Sure, this message may be simple and obvious, but it’s still an important one.

Director Manny Edwards and his co-writer John Fornoff choose to minimize the role of moms in the story, and instead focus on the active role dads can play in the emotional and physical growth of their sons. The film not only emphasizes how crucial this is, but also how often dads are just too busy advancing a career to even play catch … reminding us of the climactic scene in Field of Dreams.

Peppered with life lessons and parenting advice, the film crosses generations in its plea to dads to embrace the most important role of their lives – that of being an involved and active parent. It also drives home the message that it’s never too late, as Joe tells David, “I can’t go back. I’m here today“.

For more information on the film and to see the official trailer, visit the official website at:

http://www.herofamilymovie.com/HERO_Movie_Official_Site/Home.html

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Posted by David Ferguson

FRANK (2014)

August 31, 2014

frank Greetings again from the darkness. Most movies fit pretty easily into a genre: drama, comedy, action, etc. This latest from film festival favorite Lenny Abrahamson is tough to classify. It begins with silly and funny inner-dialogue from an aspiring musician/songwriter (Domhnall Gleeson), transitions into a dark dramady with complex characters and dialogue, and finishes as a bleak statement on mental illness and the music business.

That’s more than I would typically disclose, but some have described the film as an outright comedy and I find that unconcsionable. If you are expecting a laugh riot, you will not only be disappointed, but are likely to miss the unique perspective provided.

The screenplay is written by The Men Who Stare at Goats collaborators Jon Ronson and Peter Straughan. Clearly inspired by the late British comedian and musician Chris Sievey (and his character Frank Sidebottom), Mr. Ronson’s work with Mr. Sievey is the driving force. It’s also the reason Gleeson’s character is emphasized over Michael Fassbender‘s titular character who dons the paper mache head for the bulk of the movie. This script decision probably keeps the film from reaching greatness.

The exceptional and attention-grabbing first 15 minutes set up a movie that dissolves into an exploration of the creative process within mental illness … Franks states numerous times that he has a certificate (certifiable). There is also an ongoing battle between art and commerce, as waged by Maggie Gyllenhaal‘s character and that of Gleeson. Social Media power is on full display as this avant-garde performance art band gathers a huge following prior to ever really producing any music.

Fassbender is somehow exceptional in his “masked” performance, and it’s very interesting to see Ms. Gyllenhaal in a different type role. Gleeson lacks the charisma to carry the film, but the supporting cast of Scoot McNairy (who I think should have played the Gleeson role), Francois Civil, Carla Azar (Autolux drummer) and Tess Harper all deliver and prevent the film from drooping.

Without seeing Frank’s facial expressions, we witness his transformation from mystic/guru to an unstable and socially uncomfortable dude striving for likability, but unsure what the term really means. Must artists suffer for their art? Why does society latch onto the newest social media gimmick? What is creative success and why are so many afraid of it? The film begs these and other unanswerable questions. Certainly interesting, but definitely not 90 minutes of laughter.

SEE THIS MOVIE IF: you have always had a secret desire to be a rock star wearing a giant paper mache head at all times (and who hasn’t?) OR you have an interest in the role of creativity in treating mental illness.

SKIP THIS MOVIE IF:  you are expecting some gimmicky comedy like Ted … though this one is funnier than Howard the Duck.

watch the trailer:

 

 

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Posted by David Ferguson

THE ONE I LOVE (2014)

August 20, 2014

one i love Greetings again from the darkness. Starting out with a typical marriage counseling session, director Charlie McDowell and writer Justin Lader lull us into a movie-going comfort zone based on our experience with such Hollywood fluff as Hope Springs and Couples Retreat. All that should be said at this point is … not so fast, my friends!

A crumbling marriage and the subsequent lack of success with communication, leads the therapist (Ted Danson) to recommend a weekend alone at a private country estate. The twists and turns that await Ethan (Mark Duplass) and Sophie (Elisabeth Moss), take marriage counseling to an entirely new spectrum. Sophie wants to reignite that early relationship spark and Ethan just wants things back to normal.

The setting does justice to the legend of beautiful California real estate, but things aren’t all they seem as Ethan and Sophie bounce back and forth between the main house and guest house. It’s in these moments where the big relationship questions are addressed … and the script is smart, funny, creative and dark. It’s not likely anyone can watch this without having some inner dialogue, and probably even some real discussion afterwards.

Mark Duplass (“The League“, Safety Not Guaranteed) and Elisabeth Moss (“Mad Men“) not only carry the film, but also take on significant responsibility with wide-ranging personality traits and subtle physical changes. Duplass is exceptional and easy for most guys to relate to in how he handles the challenges. While I’ve never been a big fan of Ms. Moss, her performance here is quite impressive. Whether “together” or “apart”, they complement each other nicely.

The closest comparison I have for this one is Ruby Sparks (2012), but this one will have you questioning what makes a relationship work and what should we really expect from our partner. The idea of recapturing that initial spark is absurd and immature, but that doesn’t lessen the need for realistic expectations. For the first feature from director Charlie McDowell (son of Malcolm McDowell and Mary Steenburgen) and writer Justin Lader, the unique and creative approach to such a complex topic make them filmmakers to keep an eye on.

**NOTE: I found the film very well done and quite thought-provoking until the last 15 minutes or so.  One of the twists kind of knocked me off the rails and raised too many questions that this little film just couldn’t address, much less answer. Still, that doesn’t stop me from recommending it to my fellow indie movie lovers. During the Q&A after the screening, director McDowell admitted that they completed filming in 15 days, and that most of the sound and dialogue was recorded live.  The unusual and effective score was, of course, added later.

watch the trailer:

 

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Posted by David Ferguson

LAND HO! (2014)

August 17, 2014

land ho Greetings again from the darkness. Extra credit goes to the writer/director team of Martha Stephens and Aaron Katz for their indie spirit and unique character-driven adventure – a rare Iceland based comedy. The former Film School classmates bring color of personality and color of terrain to the forefront.

Mitch (Earl Lynn Nelson) and Colin (Paul Eenhoorn) are former brothers-in-law, once married to sisters. The polar opposites are each battling loneliness and aging, and Mitch (the gregarious one) basically forces Colin (the reserved one) into a spontaneous vacation with him to Iceland. After this, we watch what amounts to a an AARP Road Trip Buddy film.

Mitch’s bravura masks his loss of purpose and fear of mortality, while Colin mostly just shakes his head at each vulgar thought spoken without filter by Mitch. Despite the obvious differences in personality, the two come across as real guys soaking up the adventure. While Colin enjoys his solo hike that ends with a dip in the hot springs, Mitch sips his scotch while pestering a honeymooning couple (one of which is played by well known cinematographer Ben Kasulke) with questions about their private time in the room. He means no harm, he just thrives on fun … whether it’s his or someone else’s.

Mitch and Colin have a definite on screen connection, and what makes this fascinating is that while Paul Eenhoorn is an established Australian actor, Earl Lynn Nelson is a real life retired surgeon who has only recently begun acting. Mr. Nelson’s comfort in front of the camera is obvious whether he is telling his much younger cousin she has a “hot ass”, or toking on weed at the hotel. Many long time actors would have struggled in this role, but Nelson … while not always likable, leaves no doubt about his quest for fun.

Other than the two lead actors, the landscape of Iceland is a key to the look and feel of the film. The panoramas are beautifully filmed, and if somehow a few people actually see the film, it would not be surprising if Iceland tourism spikes. Though the film offers no real life lessons, and offers little in defense of “getting old sucks”, this little senior citizen character study is a worthy entry into the “gray cinema” genre, and a reminder that every morning we wake up … we are “not dead yet”!

watch the trailer:

 

 

 

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Posted by David Ferguson

THE HUNDRED-FOOT JOURNEY (2014)

August 13, 2014

hundred foot journey Greetings again from the darkness. Comfort food gets its name from the level of familiarity and satisfaction it brings us. It’s the opposite of “Innovation. Innovation. Innovation” that plays a conflicting role in this story as we follow the culinary advancement of the young chef Hassan. Director Lasse Hallstrom long ago mastered the art of tapping into the emotional heart strings of viewers (Salmon Fishing in the Yemen, An Unfinished Life, Chocolat), so his films can easily be viewed as the movie version of comfort food … they deliver what’s promised with no unnecessary surprises.

From the novel by Richard C Morais, the screenplay by Steven Knight (Locke) serves up exactly what we expect and satisfies our taste for slick and sweet entertainment, with characters who are both likable and learn their life lessons quickly. Even the backstory of tragedy that brings Kadan family from India is told in a near painless (and improbable) flashback manner as the family goes through airport customs.

While their travels and heartbreak could have been the story, we instead are front row for the cultural battlefield of a snooty French provencial restaurant vs friendly Indian family home-cooking … 100 feet apart. A snooty French restaurant with a Michelin star requires the ever-present condescending high society Madame Mallory as the movie’s “villain”. Of course, when played by Helen Mirren, we know immediately that bad will soon enough turn to good. The driving force behind her transformation is Papa, played superbly by Om Puri. Stereotypes abound, but at least there is some humor blended so as not to be overcooked.

The real basis for the movie is the extraordinarily talented young chef Hassan (played by Manish Dayal). His skill in the kitchen folded in with his overall niceness make it impossible for Madame Mallory or her sous-chef Margueritte (Charlotte Le Bon) to avoid taking notice in their own ways.

The cultural differences certainly could have been played up and further examined (Indian market vs French market), as could the backstory of all involved – the Indian family and Madame Mallory. An added level of depth and mystery could have been added if, say Catherine Deneuve had been cast in the Helen Mirren role (box office draw was obviously key to her casting). More detail could have been provided for Hassan’s time in Paris as well as what occurs with his Papa while he is away.

This is new Disney following the traditional Disney template.  The movie and the story go exactly where we expect it to go, providing the level of enjoyment and satisfaction that we demand from our comfort food. And there’s nothing wrong with a big serving of that from time to time.

watch the trailer:

 

 

 

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Posted by David Ferguson

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