SAFETY NOT GUARANTEED (2012)

June 20, 2012

 Greetings again from the darkness. This one showed promise to deliver the rare, offbeat, genuine indie genius that those of us who spend entirely too much time in dark theatres live for. How many romantic-dramadies combine caustic comedy, elements of sci-fi, and are inspired by a real life newspaper ad? Not very darn many.

The set-up for the story is that Jeff (Jake Johnson), a Seattle magazine writer, suggests to his editor that the newspaper ad would make an interesting investigative report. To get a feel for the movie, reading the ad is essential:

WANTED: Someone to go back in time with me. This is not a joke. You’ll be paid after we get back. Must bring your own weapons. I have only done this once before. SAFETY NOT GUARANTEED.

 Jeff takes two interns on assignment with him: Darius (Aubrey Plaza, pictured left) and Arneau (Karan Soni). Darius is a sarcastic loner and recent college grad. Arneau is a virgin nerd who skates ever so close to an Indian stereotype. He is actually quite funny and easy to root for. Unknown to the interns, Jeff has ulterior motives for taking this job, and the bulk of the work will fall to them.

 Darius quickly tracks down and connects with Kenneth (Mark Duplass, pictured left). He seems quite committed to the time travel cause and is a bit skeptical of Darius. The Kenneth character can best be described as a NICE Dwight from “The Office”. He veers from the “normal” line, but has a heart of gold. Once Kenneth and Darius confess their reasons for going back in time, it’s clear to the viewers that these two share a rare DNA strand. Humor kicks in during their training sessions … of course, you need martial arts skills and the ability to shoot straight if you plan to time travel.

 The comedy and romance elements are complimented by undertones of regret, paranoia, loneliness and the desire to connect. These same tones play right into Jeff’s sub-plot. When he finds his high school crush (Jessica Bergere), she asks him about his life. His answer is limited to “Escalade and Condo”. She soon has him considering what else life can offer. Kenneth and Darius discover that trust is not a four letter word. Even Arneau finds out that human interaction can be better than a blazing fast laptop.

The results of the time travel plan aren’t really important, though it does play a role in the final act. As with the best movies, what really matters are the people. These are people we can relate to because they come across as real … not perfect, but real. As likable as the characters are, there still seemed to be something missing that prevented this film from reaching the next level. Maybe it has to do with first feature film director Colin Trevorrow or his writer Derek Connolly. The missing link is not easily identifiable, but it doesn’t prevent enjoyment.

SEE THIS MOVIE IF: you are a fan of quirky, offbeat indies OR you want to see rising stars Mark Duplass and Aubrey Plaza

SKIP THIS MOVIE IF: your idea of a time travel movie is more in line with Hot Tub Time Machine than a thoughtful indie flick

watch the trailer:

 

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Posted by David Ferguson

GRAND ILLUSION (La Grande Illusion, Fr, 1937)

June 15, 2012

 Greetings again from the darkness. Often cited as one of the all-time great films, I was fortunate enough to catch this one again in a limited theatrical release … a staggeringly beautiful and crisp print. The picture is so clear it looks new, and the updated subtitles make sense and are easy to read. As amazing as it looks, the real value is in the film itself.

Directed by the great Jean Renoir, the story takes place during WWI and shows a much different viewpoint than what we would normally expect from a war movie. But then, this is not really a war movie … or a POW movie … or a Political statement. The real core of this story is the respect and gentlemanly nature exhibited by the men from opposing sides of the war. It is a reminder that war itself is the grand illusion. We also see the results of class differences. When German pilot von Rauffenstein shoots down a couple of French planes, he tells the recovery team to “invite them to lunch” if they are officers. And then we see the similarities of the aristocratic officers as von Rauffenstein and Captain de Boeldieu discover their common bonds.

 The influence of this film is quite obvious in two scenes. The digging of the escape tunnel and subsequent emptying of pockets on the prison grounds were “borrowed” in The Great Escape. Also, the singing of “La Marseilles” to annoy the Germans was used quite effectively in Casablanca. We also see a quite daring bedside death scene with the pure admiration between opposing officers who decide dying in war is “a good way out” for their types. Powerful stuff. There is also much commentary on differences: aristocrats, working class, Jewish, Germans, and career soldiers. We even see cross-dressing (with a purpose) in a couple of scenes, one of which provides an unforgettable visual as the soldiers sing “It’s a Long Way to Tipperary”.

 As great as the movie is, the backstory is almost as fascinating. Released as WWII was brewing, it was one of the first things Goebbels seized when the Germans took France. The original negative was shipped to Berlin and presumed destroyed. However, it ended up in Russian archives and was re-discovered in the 1990’s. This was after Renoir (pictured left) had personally restored the film in the 1960’s from what was thought to be the best available copy. Unfortunately, he did not live to see this most recent restoration that brought the film back to it’s original glory. Renoir’s camera work is something to behold – subtle movements for extended shots. By the way, Jean Renoir is the son of the famous French Impressionist Pierre-Auguste Renoir. I believe they call that good genes.

 Silent film director Erich von Stroheim’s iconic turn as von Rauffenstein is truly movie magic. You will recognize von Stroheim as the man servant in Sunset Boulevard. Boeldieu is played by Pierre Fresnay, Marechal is played by Jean Gabin, and Rosenthal by Marcel Dalio. Marechal and Rosenthal have a remarkable segment at Elsa’s farm house. Elsa is played by the stunning Dita Parlo. This sequence provides a nice contrast to the POW portions of the film.

This work of art is now 75 years old. It is highly recommended that you see it at least once. Also, check out Renoir’s other masterpiece The Rules of the Game.

rather than the trailer, here is video of Jean Renoir himself introducing the first re-release:

 

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Posted by David Ferguson

MOONRISE KINGDOM (2012)

June 5, 2012

 Greetings again from the darkness. Not many people think like Wes Anderson. That’s probably a good thing in real life. It’s definitely a good thing for movies. He is a creative and distinct filmmaker, though not one with mass appeal. My two personal favorites of his are The Royal Tenenbaums and Rushmore. His previous film, Fantastic Mr Fox, was a solid hit and critically lauded. Now he delivers one that will probably only click with his core fans. It’s a thing of beauty … if you keep in mind that beauty is in the eye of the beholder.

Set on the fictional New Penzance Island off the coast of New England in 1965, the movie opens with terrific visuals of the Bishop family’s lighthouse/home. Our tour is conducted as if the home were a dollhouse, and our eyes struggle to keep up with the detailed decor. We are struck by the color palette of tans, greens and splashes of red. This will continue throughout the movie.

The story centers around two 12 year old misfits: Sam and Suzy. Sam is an orphan and outcast in his Khaki Scouts troop, and Suzy is misunderstood and ignored by her selfish parents, who communicate with a bullhorn and through legalese at bedtime (they are both lawyers). Sam and Suzy are attracted to each other’s misery and decide to run away together (yes, they are on an island). This ignites a flurry of activity on this quiet island and showcases two first time actors with remarkable screen presence: Jared Gilman (Sam) and Kara Hayward (Suzy).

 The “grown-ups” on the island include Suzy’s parents played by Bill Murray (a Wes Anderson regular) and Frances McDormand. The island police chief is played Bruce Willis, who we soon figure out is also a social outcast. The Scoutmaster is played by Edward Norton with a regimented weirdness that will have you laughing in confoundment. For such serious topics, Mr. Anderson and co-writer Roman Coppola provide us many comedic moments – both through dialogue and site gags.

During the search, other colorful supporting characters get involved. Social Services is pursuing Sam. Tilda Swinton plays Social Services. In one of the few gags I’ll give away, Swinton’s character only introduces herself as Social Services. This is a gut punch to a system that is often under-staffed and forgetful of it’s true mission. We also get Jason Schwartzman as a very helpful, though slightly seedy, Cousin Ben. Harvey Keitel plays the senior Scoutmaster who is unhappy with Norton for losing a scout. Bob Balaban makes periodic appearances as a narrator … either for a documentary or for the movie, depending on the moment’s need.

The script does a wonderful job of capturing how the 12 year old brain works. Some of the scenes with Sam and Suzy are almost like looking a photo album … exactly the way our childhood memory works. Flashes of moments. The Alexandre Desplat score is heavy on percussion, but it works well with the minimalistic look of the film. It’s also interesting to note that this is one of the few movies where it makes sense to have a soundtrack with Benjamin Britten, Hank Williams and Mozart! If you go to this one, keep your eyes open and moving, and your ears receptive. The payoff is worth it.

SEE THIS MOVIE IF: you are a devoted fan of Wes Anderson OR you are ready for an example of what makes indie films so intriguing to those of us who crave them

SKIP THIS MOVIE IF:  your movie preferences lean towards straightforward entertainment rather than off-beat dialogue from disturbed characters

watch the trailer:

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Posted by David Ferguson

THE INTOUCHABLES (France, 2011)

June 5, 2012

 Greetings again from the darkness. Sometimes acting elevates material to a level far beyond what a film might have otherwise deserved. Such is the case with this based-on-a-true-story effort from co-writers and co-directors Olivier Nakache and Eric Toledano. Despite the elements of truth, the core material here is a sentimental tale that seems quite familiar. Francois Cluzet (from the excellent thriller Tell No One) as Philippe and Omar Sy as Driss turn it into an extremely entertaining story with characters we quickly connect with.

Philippe is a wealthy quadriplegic widower who is interviewing candidates for a caregiver. Driss is a recently released from jail street hustler who is just trying to qualify for state benefits by going on the required interviews. Philippe is struck by Driss’ direct approach and energy level, and chooses Driss over the room full of more qualified types.

The rest of the movie is really a buddy flick where the polar opposites bring much to the other. Philippe slyly gets Driss to use his sharp mind a bit more effectively, and Driss taps into Philippe’s hidden lust for life. Though the supporting cast is strong, the film’s best scenes are those featuring Philippe and Driss.

This is a film from France and much as been made of the filmmakers’ decision to change the caregiver from the real life Arab to a more cinema-friendly Black man. The Earth, Wind & Fire dance may be a bit too much, but I choose to believe the casting of Omar Sy was the deciding factor, not his race. He lights up the screen and draws us right into his world and his choices – some of which are better than others.

The film shares much with The Sea Inside, Scent of a Woman, and The Diving Bell and the Butterfly, but this one has much more humor and bonding than any of those. It doesn’t shy away from the melodramatic moments and isn’t above trying to generate tears in viewers. There will be a U.S. re-make of this one, but the two lead actors here (especially Mr. Sy) make this one worth seeing.

SEE THIS MOVIE IF: you thought all buddy movies were over-the-top laugh fests or cop flicks OR you appreciate the small scope of French films (that’s a compliment)

SKIP THIS MOVIE IF: a subtitled French film featuring a rich guy in a wheelchair trusting a street thug to drive his Maserati seems a bit far-fetched

watch the trailer:

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Posted by David Ferguson

TMI (5-27-12)

May 27, 2012

TMI (Today’s Movie Info)

5-27-12

 The Cinemark Theatre chain is running a Classic Film Series this summer.  One of the films in the series is the Alfred Hitchcock classic North By Northwest (from 1959)

The film stars Cary Grant, Eva Marie Saint and James Mason (as a bad guy).  With a little Hollywood magic (and Grant’s ever-youthful appearance), Grant’s mother is played by Jessie Royce Landis, who is actually only 7 years older than Grant. 

You’ll have to be quick to catch Hitchcock’s cameo in this one … it occurs during the opening credits at a bus stop.  You might also notice Edward Platt, who went on to TV fame as The Chief in “Get Smart“.  This was Hitchcock’s only movie for MGM.  The famous scenes taking place on Mt. Rushmore are actually filmed on a replica of the national monument.

Highly recommend catching this one on the big screen if you can …  both the crop duster chase scene and Mt Rushmore sequence are worth the price of admission.

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Posted by David Ferguson

BERNIE (2012)

May 24, 2012

 Greetings again from the darkness. It’s 1997 in Carthage and a shocking discovery hits smack dab in the middle of town square. That’s rural east Texas where everyone knows everything about everyone. Well almost everything and almost everyone. A year later, Skip Hollandsworth wrote an article for Texas Monthly about the fascinating, too-strange-to-believe story that shook this community. Now, 16 years after the murder, Hollandsworth co-wrote a screenplay with director Richard Linklater and they present a visual representation that allows us to wrap our heads around the events.

Linklater is always an interesting filmmaker. His resume includes Dazed and Confused, and School of Rock. Here he re-teams with Jack Black, who stars at Bernie Tiede, the nicest man in Carthage. You need not take my word for it. Linklater interviews several actual Carthage residents who swear Bernie was the sweetest, most generous man they ever met. Some even state they will never believe he committed the murder … despite his confession. Whatever you think of Mr. Black as an actor, his performance here is unlike any of his previous work. He is somehow subtle and believable while playing a real life over-the-top assistant funeral home director. His walk, speech pattern, mannerisms, interests and singing style tell us all we need know about Bernie Tiede.

The basic story is that Bernie befriends the wealthiest, wickedest widow in town. They become very close as friends, travel partners and even live together. Bernie gains Marjorie Nugent’s trust and is eventually in charge of her finances and written in as her sole beneficiary. What makes this odd? Well, Bernie is 38. Marjorie (played by Shirley MacLaine) is 81. Oh, and he is gay. This odd arrangement somehow is accepted in this community for one reason … he is just so a nice man! He truly is nice. Right up until the point where he’s not so nice.

 This is one of those movies where the links are stronger than the chain. Black’s performance is stellar and worth the price of admission. Equally entertaining are the “interviews” with the local townspeople. And adding intrigue to all of that is the best ever supporting performance from Matthew McConaughey as local DA, Danny Buck Davidson. Those three elements make this oddball movie a sight to behold. There is humor to make us laugh and oddity to raise eyebrows.

The downside is that the docudrama approach actually takes away from what should have been the key aspects of the story. More screen time watching the relationship between Bernie and Marjorie could have proved enlightening. Instead, the development is reduced to snapshots of vacations and a snippet of a couples massage. The dark elements are only hinted at until the shock of the deed.  The filmmakers choose not to dwell on the “other” side of Bernie, and instead play along with the locals version of the nicest man in town.

Movies based on truth are all the more enticing when the characters are themselves quite interesting and different. That’s certainly the case with Bernie Tiede, Danny Buck Davidson, and the locals in Carthage. For a taste of small town East Texas living and dying, questionable morals, battles between legalities and religion, and the hypocrisy and clouded judgment that occurs when a nice guy gets dirty … this is as good as it gets.

SEE THIS MOVIE IF: black comedy immersed in real life tragedy is your thing OR you don’t want to miss a wonderfully odd and touching performance from Jack Black (and lots of hymnal singing)

SKIP THIS MOVIE IF: you don’t apprecaite a murderer being portrayed as a nice guy – even if that’s the TRUE part of the story!

Watch the trailer:

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Posted by David Ferguson

THE BEST EXOTIC MARIGOLD HOTEL (2012)

May 6, 2012

 Greetings again from the darkness. The closest I can come to saying anything negative about the film is that it is a bit predictable, and I wish we had time to get to better explore these characters. That said, it is quite an entertaining ride to take with some of Britain’s finest actors. Filled with both comedy and insight, the Ol Parker script of the Deborah Moggach novel (“These Foolish Things”) may be the jump start to a new film genre … gray cinema.

In the pre-opening credit sequence, we get introductions to seven Brits who are all at a crossroads in life … each past the career stage (either voluntarily or otherwise) but not ready to disappear into a meaningless existence waiting to die. They each respond to an advertisement for a hotel in Jaipur, India which caters to the “elderly and beautiful”. Its biggest selling point is probably the low cost of retirement. Still, it’s an adventure of the scale most of our heroes have never taken.

We meet Evelyn (Judi Dench) as the recent widow who discovers her beloved husband left her a mountain of debt; Douglas and Jean (Bill Nighy and Penelope Wilton) a hapless married couple who have invested their savings into their daughter’s internet company; Muriel (Maggie Smith) is a racist and longtime housekeeper for the rich who has been put out to pasture while in need of a new hip; Graham (Tom Wilkinson) is a high court judge who is fed up with responsibility and seeking to reconnect with a long ago lover; Madge (Celia Imrie) and Norman (Ronald Pickup) are the lonely hearts looking for love, or in his case, loving.

 They arrive at the Indian resort to be met by its proprietor Sonny, a wildly exuberant and overly optimistic Dev Patel (Slumdog Millionaire). Sonny has inherited the rundown property from his father and has huge dreams of turning it into a showplace for retirees from abroad … he literally wants to outsource old age for all the countries who have no use for the elderly. A sad truth for both the English and Americans.

The joy of the story comes from the transformation of each of the characters as they slowly discover more about the country and, in turn, more about themselves. Graham’s discovery is especially touching, while Jean’s takes a proverbial slap in the face from her long-suffering, quasi-henpecked husband Douglas. Even young Sonny learns about life decisions thanks to his guests and the actions of his mother and girlfriend.

With the general population aging, expect to see more films in this vein … aimed at the age group who is approaching the crossroads, but not yet ready to give up living. Director John Madden (Shakespeare in Love) has delivered a charming seriocomedy, but I expect others will take a more in-depth and analytical view at some point.

SEE THIS MOVIE IF: you are after an entertaining story about some very interesting characters

SKIP THIS MOVIE IF: you are looking for an in-depth study of the crossroads senior citizens face as their careers come to an end and a path must be chosen.

watch the trailer:

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Posted by David Ferguson

WINGS (1927)

May 3, 2012

 Greetings again from the darkness. This film holds the prestigious position of forever being the answer to a favorite Academy Awards trivia question: Name the first Best Picture winner. Of course, there should be an asterisk attached as the film officially won Most Outstanding Production. There was no Best Picture award that first year. It was also the first and last Silent Film to win the award until The Artist won this year (2012).

Rarely have a film and director been so perfectly matched. William Wellman was known as “Wild Bill” thanks to his actual WWI flying experience and his penchant for fighting and partying in Hollywood. Wellman handled some of the stunt flights in the film and is also seen as the dying soldier near the end who shouts the “buzzards” line. Much of the film was shot at Kelly Field in San Antonio, and its popularity was certainly assisted by the patriotism of the time and the recent aviation excitement created by Charles Lindbergh‘s transatlantic flight.

The story is based on the WWI Army Air Corps and features some stunning aerial photography and combat flying missions, with an incredible-for-the-times 3500 soldiers, 65 pilots and 165 aircraft. The lead actors are Richard Arlen (David) and Charles “Buddy” Rogers (Jack). They are local rivals battling over the heart of the same woman played by Jobyna Ralston (Sylvia). It’s a pretty interesting love story as Jack thinks Sylvia loves him, Sylvia loves David and David knows it, and Mary loves Jack, and Jack has absolutely no clue.

 Mary is played by the always outstanding Clara Bow (pictured left with Rogers). She truly lights up the film and screen in her scenes. Not only does she have the expressive eyes necessary for silent films, her physical presence is wonderful for such a tiny lady. Other interesting cast members include El Brendel as Herman Schwimpft. His German sounding name and somewhat effeminate manner are constant sources of comic relief. Hedda Hopper plays Jack’s mother. You might recognize her name as the founder of Hollywood gossip columns … she started out doing some acting.

 Beyond the “Wild Bill” fun, there was also some romantic shenanigans on set. Richard Arlen and Jobyna Ralston ended up getting married after meeting during filming. Also, Clara Bow started an affair with a new actor named Gary Cooper. Yes, THAT Gary Cooper (pictured below, standing). It is startling to see such a young Cooper when he makes his first appearance. It’s a small, but vital role in the film. There has been an ongoing debate in the film world about the homosexual undertones between Jack and David. In the famous death scene, we get the first on screen man-on-man kiss on lips. Quite shocking for the times.  From a technical aspect, the Handschiegl Color Process was used for the flames and explosions – dramatic splashes of color in the aerial combat scenes. This was also Costume Designer Edith Head‘s first film. She went on to become the most famous Hollywood costume designer and worked on hundreds of films.

 The theatrical re-release of the film coincides with its 85th anniversary and celebrates 100 years of Paramount Pictures. The opening credits provide a time lapse view of the numerous Paramount logos through the years. There are many reasons to see this film: its ground-breaking action scenes, the history it addresses, its place in Hollywood lore, and of course, if you want to see the inspiration for Betty Boop (Clara Bow). What I won’t do is mention that the love story was copied by Michael Bay in the less-than-stellar Pearl Harbor film. Forget I even mentioned it.

*note: a bit more trivia … the film was released the same year Babe Ruth hit 60 home runs.  That’s the record Roger Maris would break 34 years later.  Also, this film is one of only three to ever win Best Picture without also receiving a Best Director nomination.  The other two films are Grand Hotel (Edmund Goulding, 1932) and Driving Miss Daisy (Bruce Beresford, 1989)

watch a one minute trailer:

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Posted by David Ferguson

RUBY’S DREAM (aka DEAR MR WONDERFUL, 1982)

May 2, 2012

 Greetings again from the darkness.  If you are a movie geek like me, and people know that you watch an obscene number of movies each year, a frequent question you get asked is “Have you seen _____ ?”  I absolutely love this question because there is always the possibility that I am about to be turned on to some obscure, off-beat gem that has somehow eluded me all these many years.  Maybe it’s the early work of a now famous writer or director.  Maybe it’s today’s movie star in a supporting role.  Maybe it’s just a poignant story that struck a chord with your friend.  I recently answered that question about this movie via email from a trusted source.  My only real hint was his statement “Joe Pesci sings“.

It doesn’t take much research to discover that Joe Pesci was a child star and even released an album, appropriately titled “Little Joey Sings”.  Not much happened for Little Joey after that until Robert Deniro noticed him acting in a play, and immediately recommended him to Martin Scorcese for Raging Bull.  That, my friends, is what they call a big break.  Since then, Pesci has had a very solid career.  Quite often he is seen in Scorcese films, but also in comedy roles like My Cousin Vinny, Home Alone and a Lethal Weapon sequel.  But, as far as I know, there is only one movie where he actually sings on-screen.

I am sure it’s just a coincidence that I have been awakened to this film during its 30th anniversary.  It’s no mistake that The Godfather series, Casablanca and Wings have received special theatre screenings for their anniversary, yet this film lives on in anonymity.  Though it’s directed by well-known German director Peter Lilenthal (David, 1979), and filmed by famed cinematographer Michael Balhous, the movie has the look and feel of a 1970’s home movie recorded by your eldest uncle suffering from poor eyesight.  Even worse, I believe it was edited by someone’s great-grandmother who only had a pair of scissors and roll of scotch tape.  Despite these handicaps, there is a certain sweetness and likeability to the film and its lead character, Ruby Dennis, played by Joe Pesci.

 Ruby is a part owner of a bowling alley/lounge.  He is part owner with the mob.  He is nice.  They really aren’t.  Ruby has a stage act as a lounge singer … yes, he sings while people bowl!!  Ruby’s big dream is to head off to Vegas or Chicago and sing in a classy joint.  Yet, he seems to be in on the gag that he really isn’t too talented.  He lives with his sister and her son.  The sister is played by Karen Ludwig, who also played Meryl Streep’s partner in Manhattan.  His nephew is played by Evan Handler, recognizable from his role as Harry in Sex and the City.  Ruby’s girlfriend is played by Ivy Ray Browning, whose character is also an aspiring singer.  This was Ms. Browning’s only TV or movie credit.  And no, that’s not Deniro as the piano player (despite the facial similarity).

 Frank Vincent (pictured above) plays Louie, the mob liaison who tries to get Ruby to take the easy way out.  But for a guy sporting multiple gold chains, a terrible toupee and a 70’s style moustache, Ruby isn’t always the smartest guy … though he does have a good heart. The script was written by Sam Koperwas and it’s also his only writing credit.  There are so many things working against this film, yet Pesci is strong enough to make you care just enough about his Ruby, that we feel his humiliation during the film’s best sequence.  Tony Martin (pictured left) makes a cameo appearance as himself visiting Ruby’s establishment. Things don’t go so well.  Mr. Martin had quite a career as a singer and actor from the 1930’s through the 1950’s.  He married and divorced Alice Faye, and later was married to the great Cyd Charisse for 60 years.  Martin’s scene in the film is even better than the early one where Pesci is handling a live fish in the bathtub.  He later kills it off-screen with a baseball bat.  Not the last time Pesci makes use of a baseball bat in a movie.

While this is certainly not a movie that falls into the hidden gem or highly recommended category, it does have some redeeming value if you are able to ignore or chuckle at the horrendous production value … and the very mediocre singing by Joe Pesci (who also co-composed the songs in the movie).  So, embrace the opportunity when your friends ask, “Have you seen _____ ?”

 

4 Comments | Comedy, Drama | Tagged: , , , , , | Permalink
Posted by David Ferguson

DAMSELS IN DISTRESS (2012)

April 22, 2012

 Greetings again from the darkness. Filmmakers who see the world in an unusual way often appeal to me. Whit Stillman fits that description as evidenced by his Metropolitan and The Last Days of Disco. It’s been more than a decade since his last film, and his writing remains strong while his director’s eye may have atrophied a bit. We get a trippy, twisty maze of dialogue that is not double-entendre, but rather double-take.

The film takes place on a fictional campus named Seven Oaks College. We meet a small clique of young ladies led by Violet (Greta Gerwig, Greenberg). She has a noble life mission of “helping” young men who don’t recognize their own potential. She views this as a type of social work. Violet and her troupe are also dedicated to the high causes of perfume and fashion. They volunteer at a Suicide Prevention Center, where they seem to possess no skills other than handing out donuts and teaching tap dancing.

Violet’s followers include Rose (Megalyn Echikunwoke), Heather (Carrie MacLemore) and transfer-student Lily (Analeigh Tipton). They could be termed caricatures, but I am not sure of what. Their philosophical meanderings could be considered arrogance, but their hearts seem to be in the right place. And it’s difficult to raise much ire towards Violet when her ambition involves inventing the next international dance craze … Sambola. She even provides an oral argument on the importance of dance crazes within society.  She acts like an adviser, almost a guru … but she ends up needing guidance as much as anyone.

To watch this movie, one must be willing to give Mr. Stillman some slack in the rope. To treat suicide with a touch of glib can be dangerous, but watching Aubrey Plaza defend the importance of “clinical” depression is pretty humorous. Analeigh Tipton acts somewhat as the voice of reason for viewers. She was outstanding in Crazy Stupid Love, and seems to be finding herself as an actress. Zach Woods (The Office) has a couple of decent scenes as the campus editor of “The Daily Complainer”, Adam Brody is the boyfriend who may not be what he seems, Alia Shawkat makes a quick angry appearance, and Taylor Nichols keeps his streak alive of appearing in all of Stillman’s films.

This movie may be best viewed and enjoyed as a glimpse into the mind of Whit Stillman. As a visual film, it’s really nothing special. The interesting part is in the dialogue and delivery of those lines … plus the social commentary offered up by the dialogue. Although, please don’t ask me what point that commentary is making.

SEE THIS MOVIE IF:  you are a fan of Whit Stillman’s previous films OR you are looking for an offbeat filmmaker in the vein of Wes Anderson (minus the visual flair).

SKIP THIS MOVIE IF: you prefer the story to make a clear point and the characters speak in “normal” thoughts (neither of which happen here)

watch the trailer:

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Posted by David Ferguson

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