Greetings again from the darkness. Family dynamics often make for entertaining movie fodder. The possibilities are endless and source material is in full supply, given that most of us have enough stories to write our own book! This latest from director Pieter Gaspersz drops us right in the middle of the Valentino family, and all the bickering, conflicts and secrets that any one family can generate.
The script is from Gaspersz’ wife, Sabrina Gennarino, who also stars as daughter Maxine, one of the key characters in the film. You will probably recognize her along with many of the other actors who make up the family, though you may not recall all the names. Kathleen Quinlan plays the mother, and it doesn’t take us long to realize everyone is tiptoeing around her – we just aren’t sure why. Her husband is played by John Doman, and he is the most difficult character to connect with because he coddles his wife and basically ignores his (grown) kids … even Christian (an underrated Pablo Schreiber), the son who has taken over the family stone business. Adam Scarimbolo plays Niky, the family screw-up (well, one of them anyway). Niky is lost in life, and it’s obvious the conflict with his dad must be resolved before he can really grow up. Aunt Kat (the mom’s sister played by Diane Neal) is apparently around to help out, but she spends most every day chugging booze.
While it may sound like an impossible family to understand, there are moments that strike an emotional chord and make the film quite watchable. There is some choppiness in the presentation, but it’s beautifully filmed by Jonathan Hall, and pretty solidly acted by the entire cast. The themes of loss, grief, deception, and family (mis)communication are sometimes far-fetched, and other times spot on. The father’s concern about “protection” for his daughter comes across as a bit awkward, until the big reveal towards the end. At that point, we all understand what he means by protection and why he had his doubts about her fiance (played by Darrin Dewitt Henson). Until the reveal, there are times it plays like an extended episode of TV’s “Parenthood“, but in the end, the puzzle is mostly complete and the payoff is satisfactory.
Greetings again from the darkness. Nearly 50 years have passed since director Luis Bunuel brought the 1928 novel of Joseph Kessel to the big screen. It became an instant film classic. The story of erotic fantasies is told with Bunuel’s unique surrealistic style. Not the same style as his earlier films, but still, it’s the unmistakable eye of a master. The film also presents a young Catherine Deneuve at her most striking.
Ms. Deneuve’s Severine plays bored housewife to her doctor husband (Jean Sorrel). He is extremely patient and understanding of her coldness in the bedroom, and it’s clear that she loves him, despite the lack of physical attraction. Soon enough we are provided a startling glimpse of Severine’s masochistic fantasies. It’s not until later that we begin to understand what drives her imagination.
Severine deflects the advances of an older family friend (Michael Piccoli), who is so attracted by her purity, and he unknowingly leads her into a world that might satisfy her in ways that her gentleman husband hasn’t. When Severine meets Madam Anais (Genevieve Page), she begins playing out her fantasies through the afternoon shift at the brothel … all while keeping up the necessary appearances for society.
Bunuel provides us teases of the sources through flashbacks and sound effects … a carriage harness bell and the periodic meows of a cat. It’s never Bunuel’s intent to answer all questions, and he certainly makes no moral judgments towards Severine. Instead we get an exploration in the variances of love, sex and fantasy.
In the end, we aren’t absolutely certain that we can distinguish between Severine’s reality and her fantasy, but we do understand the importance of her fantasies within the structure of her day to day life. If watching Ms. Deneuve perform in this gem inspires you to see more of her work, I recommend Roman Polanski’s Repulsion. Also, it should be noted that she continues to act to this day.
Greetings again from the darkness. Writer/director John Michael McDonagh and actor Brendon Gleeson re-team (The Guard, 2011) in what can be viewed as one giant leap for both filmmaker and actor. Mr. McDonagh is immensely talented and seems to be a natural at keeping his viewers unsure of what’s coming, and Mr. Gleeson gives his best yet performance of a quite impressive career.
Set and filmed in a western Irish coastal town, the film has a most unusual first scene, including an acknowledgment of such as the priest (Gleeson) says “Certainly a startling opening line“. This occurs in the confessional, with an extreme close-up, as the unseen (by us) parishioner then says “I’m going to kill you Father“. With Sunday week as the promised deadline, the movie follows the Priest with a placard for each day, as he makes his way through consulting the maze of local town characters. He also receives a visit from his daughter (Kelly Reilly), fresh off a suicide attempt (he was married prior to joining the priesthood).
The film bounces from very dark humor to extreme philosophical and theological discussions (faith and mortality) between the town folks and the priest. We quickly learn what a good man (with an imperfect past) he is, and struggle to understand why the locals flash such vitriol his way. The Catholic Church, and all that implies these days, certainly plays a key role, but more than that, this is about the make-up and character of people.
An impressive and talented supporing cast includes Aidan Gillen as the atheist doctor with a dark side, Chris O’Dowd as the local butcher, Orla O’Rourke as his unfaitful wife about town, Isaach DeBankola as one of her chums, Dylan Moran as the conflicted local rich boy, Killian Scott as the frustrated virginal local, Domhnall Gleeson (Brendan’s son) as an incarcerated serial killer, and the always great M Emmet Walsh – back on screen as the local old timer who spins yarns and enjoys attention.
This is not the place to go into detail about the story, as the film is best unwrapped and interpreted by each viewer. Rather than a whodunnit, it has a rare who-is-going-to-do-it element that hovers over each scene. What can be said is that this is exceptional filmmaking: it’s well directed, beautifully photographed (landscapes and aerials), superbly acted, has a terrific script (incredible dialogue), and encourages much discussion.
Greetings again from the darkness. The evening I saw this one, I tweeted “Mike Cahill is one of today’s most intriguing filmmakers“. After a few days to think about it, that belief remains so. A double feature of this and his previous film Another Earth could keep the conversation flowing for days and weeks.
Evolution vs Spirituality is the main theme here. Miohael Pitt plays molecular biologist Ian Gray, who is working diligently to prove that the evolution of the eye is the scientific proof debunking creationism and spirituality. Ian’s petri dish view of life is challenged when he meets free-spirited Sofi (Astrid Berges-Frisbey). This takes “opposites attract” to a whole new level … in fact, opposites actually detract … from the story and tone. While Sofi causes cracks in Ian’s convictions, their ultimate split is actually a turning point for the film. The second half is extremely entertaining and thought-provoking.
Leaping ahead a few years, we find Ian married to his previous lab assistant Karen (a terrific Brit Marling). These two have an intriguing bond, and the birth of their first child sends the two scientists back into research mode … including some globe trotting. Retina scanning technology plays a huge role here, and leads Ian to India where he searches for proof of this new theory.
This existential trip has an inordinate number of coincidences, lucky breaks, and philosophical discussions … not to mention a rainbow range of eye glass styles for Pitt and Marling. If you enjoy films that generate post-viewing discussions, Mr. Cahil is proving himself as the go-to filmmaker. Whether you fall on the side of science or spirituality, or somewhere in-between, this film seeks to prove the eyes have it.
Greetings again from the darkness. Always a bit partial to films based on a true story, I would have to label this as a fictionalized historical period piece, and a step above most costume dramas (though the costumes here are quite stunning). While it’s a very attractive movie to look at, I was a bit frustrated at the multi-directional approach that just skimmed many topics.
The movie could have focused on the relationship between cousins Dido Elizabeth Belle (Gugu Mbatha-Raw) and Lady Elizabeth Murray (Sarah Gadon). Or it could have zeroed in on the unusual complexities raised by the illegitimate mixed race Belle being raised in British Aristocracy. Still another option would have been digging into the historical impact of Zong massacre and the subsequent arguments, court trials and appeals. Instead, we get a splash of each … which leaves the viewer wanting more detail on all three.
The cast is very strong and features Tom Wilkinson as Lord Mansfield, Lord Chief Justice of the King’s Court … he raises Belle at the request of his nephew (her father). Lord Mansfield’s wife is played well by the always excellent Emily Watson. Also featured are Miranda Richardson, Matthew Goode, Penelope Wilton (always entertaining), James Norton, Sam Reid, and Tom Felton – who creates yet another despicable character to go with his Draco from the “Harry Potter” series.
Maybe the best term for this is historical melodrama, as the courtroom decision comes across as anti-climatic, with more third act attention paid to Belle’s love interest (Mr. Reid). Very little is known of the actual Dido Elizabeth Belle, but it seems clear that her role in the Zong trial was dramatically enhanced for the purposes of the film. In fact, more drama may have played out for the film’s writing credit between the director Amma Asante and the WGA. Though the director lost the writing credit, she can be proud enough of the final product. The two cousins are featured in the famous 1779 painting (see below) that inspired the story.
Greetings again from the darkness. The trick here is to convey enough without ruining anything. No, it’s not a movie filled with twists and mystery, but rather it’s a journey unlike we have previously seen on screen. Director Richard Linklater is known for his fascination with time as a key element in movies. Of course, that’s obvious in his “Before” trilogy (the same two characters from 1995-2013), but think also of Dazed and Confused, School of Rock, and Bernie. The passage of time is crucial in each, but Boyhood takes it to a whole new level.
Linklater and the 4 main characters have congregated and filmed a few days each year … for 12 years. We watch a fictionalized family mark the passage of time. You might be familiar with director Michael Apted’s excellent “Up” documentary series, where he reunites with his same group of people every 7 years. In Linklater’s experiment, we watch Mason (Ellar Coltrane) and Samantha (Lorelei Linklater, Richard’s real life daughter) progress from adolescence to college age in under 3 hours. If you are a parent, you have experienced the quick passage of time when it comes to watching your kids grow. It’s incredibly emotional to watch a young, fresh faced Mason grow into a college aged young man right in front of us.
Linklater certainly got lucky with the two kids he cast at young ages. Their development and commitment to the project is the heart of the film. And if that weren’t enough, we also see Patricia Arquette and Ethan Hawke as their mom and dad through the years. Although they are separated when the film begins, we witness the changes each go through in their own lives. This is evolution, not creation. We don’t get a new actor at each stage, instead we witness the transformations of all four.
Patricia Arquette’s character is a solid mom, while at the same time attempting to figure out her own life. Her less-than-stellar choices in men have quite the influence on Mason and Samantha … the most dramatic being Ted (Steven Chester Prince) who sinks deeper into frustration, depression, alcoholism and anger. It’s a thankless role, but it’s a guy we have all known in life.
So the film is about parenthood, childhood, adulthood, and family relationships. It’s about the moments in time – the snapshots that become the fiber of our being. The shaping of people is an ongoing process and adult drama plays a role for all ages. As character flaws are exposed, choices are made that have a lasting impact.
The passage of time is relayed not just through the kids looking older, but also through the usage of technology, music and pop culture. All 4 of the main actors are excellent, but Patricia Arquette and Ellar Coltrane are truly exceptional. Though the film is not a traditional narrative, it would be wonderful if both received some awards attention. They are that good.
A nod of appreciation should go out to IFC for taking the risk on such an unusual project. Linklater offers up an experiment WITH time, rather than an experiment IN time. Most studios would not be patient for 12 years, but their risk clearly pays off with something that must be experienced to be understood. My hope is that many will give this one a shot, and feel appreciative of all those involved for their willingness to put up funding … or just as importantly, their time.
Greetings again from the darkness. Two upfront disclosures are in order. I have never seen the mega-smash Broadway show, and I’ve always been a huge fan of The Four Seasons’ music. These are pertinent because they impact one’s reaction to the film version.
Director Clint Eastwood says he knew immediately he wanted to bring the Broadway show to the movies. In fact, his decision to cast 3 of the 4 main stage actors proved crucial in this successful transition. The rags-to-riches story of four guys from New Jersey is not only true, but it’s believable because they scrap and battle just like we would expect. The mob ties are on full display, as is the struggle to maintain any semblance of normal family life while on the rocket ship to stardom.
John Lloyd Young is spectacular as the great Frankie Valli. While I fully anticipated cringing during the songs, his voice never once faltered. He is clearly the main reason the Broadway show (he won a Tony award) and the movie work. Erich Bergen plays songwriter Bob Gaudio and Michael Lomenda plays bassist Nick Massi … both are solid. The only crack was in the casting of Vincent Piazza as Tommy DeVito. Piazza is well known from “Boardwalk Empire“, but he is just a bit too slick as the guy who scammed the other band members, digging a massive hole of debt – mostly to a mob loan shark named Norm Waxman (played by Donnie Kehr in an excellent performance).
Other support work is provided by Mike Doyle as record producer and all-around flamboyant guy, Bob Crewe; Renee Marino starts strong as Mary (Frankie’s future wife) but is given little to do (other than booze and yell) as the story progresses; Joseph Russo captures the quirks of a young Joe Pesci, who introduces Gaudio to the band; and the always entertaining Christopher Walken slightly underplays local made guy Gyp DeCarlo who is instrumental in protecting Frankie in those early years … proving that in Jersey, Talent = Respect. It should also be noted that the band’s accountant is played by Barry Livingston, who you might remember as Ernie from “My Three Son’s“.
Eastwood is now 84 years old and he wisely takes a pretty conventional route with the film version. In fact, the argument could be made that since it doesn’t have the edge of most R-rated movies, taming the language could have resulted in a PG-13 rating, making it more accessible to families. The screenplay is from Marshall Brickman (Annie Hall, Manhattan) and Rick Elice, also co-wrote the book for the musical. This movie has not been popular with critics and it’s probably because of this relatively safe approach to an entertaining and fun story. It’s not cutting edge cinema, but if you enjoy The Four Seasons music, you will enjoy the movie.
***NOTE: Two surprising notes on cameos: Clint Eastwood makes a brief appearance on a TV set showing an episode of “Rawhide” where he portrayed Rowdy Yates; but the bigger question is WHERE WAS FRANKIE VALLI? After numerous appearances on “The Sopranos“, and being listed as here as an Executive Producer, it seems working Mr. Valli into a scene would have been a nice tribute … or, as reader Goldy suggested … how about showing actual Hall of Fame induction footage at the end?
***NOTE: If you are in the mood for a different type of Christmas song this year, check out The Four Seasons version of “Santa Claus is Coming to Town” … always one of the more challenging sing-alongs!
Greetings again from the darkness. Writer/director Pawel Pawlikowski (My Summer of Love, 2004) films in his homeland of Poland (set in 1962) and presents a familiar topic from a most unusual perspective. This film has been very well received on the festival circuit and it’s easy to see why: it’s beautifully photographed, very well acted, includes terrific music and presents an emotional story for thoughtful viewers.
We first meet Anna as a novitiate nun on the verge of taking her vows. Her Mother Superior has one requirement: Anna must visit her lone surviving relative. Her Aunt Wanda is everything Anna is not: worldly, cynical, direct. In the first few minutes of their visit, Wanda (Agata Kulesza) informs Anna (Agata Trzebuchowska) that though she is a nun-to-be, she was born Jewish with the name Ida, and she was sent to a Catholic orphanage when her parents were killed.
After this bombshell, the two set out on a journey to discover the truth and trace their family roots. It’s a journey of discovery not just for Ida, but also for Wanda, who carries her own burden. Questioning one’s faith and one’s true identity is nothing new, but this makes for quite an unusual buddy road trip. Wanda is rarely without a drink in hand and Ida has had no previous exposure to the real world outside the convent.
This is the debut of Agata Trzebuchowska and her porcelain look and big eyes convey a quality with which we find ourselves comfortable with, while Ms. Kulesza evokes empathy from the viewer despite her harsh edge and beaten down outlook on life and people. Hers is a standout performance.
Two exceptional pieces of music are used to perfection: Coltraine’s “Naima” and Mozart’s “Jupiter” symphony. The storytelling and look of the film might be austere (stunning black and white photography) but this music hits us hard in two separate scenes. For those who appreciate dramatic art films, this is one to see .
**NOTE: there is an appearance from real life singer Joanna Kulig
Greetings again from the darkness. This is Australian writer/director David Michod’s follow-up to his excellent 2010 film Animal Kingdom– one of my favorite films that year. While that film took us inside an Australian gangster family, this one is set in a dystopian Outback ten years after what the film terms “the collapse”.
Michod’s script from a Joel Edgerton story goes pretty light on the details and depends heavily on the shared scenes with Guy Pearce and Robert Pattinson. Both deliver the goods, and Pattinson in particular is quite something to behold … his gun shot wound plays second fiddle to the most bizarre speech pattern and accent we have heard in awhile. Initially appearing somewhat flawed in his mental aptitude, Pattinson brings his character through a full cycle of emotions; which is the polar opposite of Pearce’s character who though quite stoic, leaves no doubt that he is angry at 3 goons for stealing his last possession – his car.
The mood of the film and the tone of the character keep us in suspense on why this blasted car is so important to Pearce, and it’s not until the final sequence that the mystery is solved. The more interesting scenes occur when Pearce and Pattinson are facing off – their relationship evolves from adversarial to something kind of oddly touching.
The usually dependable Scoot McNairy plays Pattinson’s brother, but really isn’t given much to do except for his final scene with Pattinson. The most interesting supporting role comes courtesy of screen veteran Gillian Jones as the inquisitive Grandma. She leaves the impression that a film about her would be much wilder than the minimalistic landscape and dialogue of our feature.
Michod’s latest is not at the level of Animal Kingdombut it does offer a couple of intriguing characters and vastly toned down Mad Maxflavor. It’s beautifully photographed and the sparse soundtrack is the perfect compliment.
Greetings again from the darkness. It’s been 30 years. The movie hasn’t changed. I remember every scene. So that means it’s ME that has changed. While I really liked the movie on its 1984 release, it’s only now that I truly appreciate the brilliance of the script, the music, the direction, the photography and the acting … much less the wide range of emotions released in the smallest ways possible.
Director Wim Wenders has long been a favorite at Cannes Film Festival, and this one took home the prestigious Palme d’Or. Since then, the film has often been mentioned as one of the best movies of the 1980’s, and after this most recent screening (courtesy of the Dallas Film Society), I wholeheartedly concur.
Opening in a most unusual manner … the lead character comes stumbling out of the Texas dessert and doesn’t utter a word for the first 20-25 minutes … this film immediately strikes you as something unique –definitely not cookie cutter. Trying to outguess the script is a waste of time. It’s best to just watch it unfold in a believable and sometimes awkward way.
In a rare lead role, long time character actor Harry Dean Stanton plays Travis. We soon enough learn that Travis disappeared four years ago leaving behind a wife and young son. We also learn that his brother Walt (Dean Stockwell) and Walt’s wife Anne (Aurore Clement) have been taking care of the boy, and Hunter (Hunter Carson) considers them his parents (his mom ran off too).
Walt and Anne invite Travis to stay with them and re-connect with his son, but they are caught off guard when the two really click and they take off to find Jane, the wife/mother. Their charming (but less-than-professional) stakeout leads to the discovery that Jane is working in a sex shop, spending her days talking to a 2 way mirror with lonely men she can’t see. One of the most remarkable on screen soliloquies ever seen occurs on Travis’ final trip to see Jane (Natassja Kinski). He tells her a heartfelt story that plays out as an explanation, an apology, and a plan for moving forward. She slowly realizes it’s their story he is telling. It’s his way of making reparations and finally doing the right thing (as he sees it).
As with most classic films, the backstory offers some interesting tidbits and the players are fun to catch up with. This story was originally written by the great Sam Shepard. Mr. Shepard is a Pulitzer Prize winner, an award winning playwright, and well known actor (Oscar nominated for playing Chuck Yeager in The Right Stuff). Director Wenders then brought in L.M. “Kit” Carson to add and revise the script while on set. Carson’s son (with actress Karen Black) Hunter plays the boy in the film, and he delivers one of the best, least affected, child performances of all time. Kit went on to write the screenplay for The Texas Chainsaw Massacre 2 (1986) and had a significant acting role in Running on Empty(1988). His son Hunter is still a working actor today. Mr. Wenders was one of the German New Wave of directors along with Herzog and Fassbinder, and his Wings of Desire(1987) would make a terrific double feature with this one. Mr. Stockwell was a very successful child actor in the 1940’s and is best known for his work in Blue Velvetand TV’s “Quantum Leap“. Ms. Kinski is the daughter of Klaus Kinski and is fondly remembered for her roles in Tess (1979) and Cat People(1982), though she still works today as well.
Harry Dean Stanton is now 88 years old. He served in WWII and was present during the Battle of Okinawa. His acting career began in the 1950’s and he still works periodically today. In addition to nearly 200 acting credits, he has had a pretty nice career as a musician. His band built a large cult following. Some of his most popular acting roles have been in Cool Hand Luke, The Godfather II, Alien, Repo Man, Escape From New Yorkand, of course, as the dad in Pretty in Pink.
The music in the film is provided by Ry Cooder, who is a tremendous slide guitarist and has worked with some of the all-time greats in the music business – The Rolling Stones, Van Morrison and Neil Young, among others. Cooder is a multi-Grammy winner and re-teamed with Wenders for the Oscar nominated Buena Vista Social Cluba few years later. The music is an exceptional compliment to the movie, as is the camera work of Robby Muller, who also works frequently with Wenders.
This story of loss and loneliness is an easy one to overlook, but when a film holds up well for 30 years … and affects you differently depending on your own lot in life … its legacy is secure.
***NOTE: those of a certain age will get a kick out of the use of a Muse Air jet
Greetings again from the darkness. Family dynamics often make for entertaining movie fodder. The possibilities are endless and source material is in full supply, given that most of us have enough stories to write our own book! This latest from director Pieter Gaspersz drops us right in the middle of the Valentino family, and all the bickering, conflicts and secrets that any one family can generate.
Posted by David Ferguson 
Movie Reviews from the Dark 