THE KILLER INSIDE ME (2010)

July 18, 2010

 Greetings again from the darkness. The film is based upon the work of crime novelist Jim Thompson, who is quite famous as a writer and whose works have often been translated to film. This time oft-creepy director Michael Winterbottom is in charge and comes pretty close to creating a masterpiece. Unfortunately, the bits that fall short, very nearly ruin the film.

Psychological crime thrillers can be the most fascinating genre (see Inception), but only when the lead psycho is relatable in some sense and the story is complete. Here, Casey Affleck gives an outstanding performance as the dude you don’t want your daughter to date. There is a deep darkness hidden behind his aw-shucks facade of innocence and cutesy west Texas drawl.

The violence is expected, yet still shocking, when it first rears its head on poor Jessica Alba. We feel the first punch. What happens in this first encounter catches us off-guard and leaves us wanting to know more background on Affleck’s character. Instead, we are really only spectators in his plan of violence that seems to have no real goal. Think Natural Born Killers. Heck, even Ted Bundy had a real plan!

The creepiness factor is upped a bit since most everyone associated with the crimes seems to suspect Affleck’s character, but no one knows what to do or how to stop him. Kate Hudson, Elias Koteas and Simon Baker (miscast) give it a go. Personally I wanted more of the Koteas character as well as Ned Beatty, who plays a powerful developer against whom Affleck holds a grudge.

Bill Pullman is tossed in near the end to help wrap things up, but mostly the ending is as unsatisfying as the rest of the story. It is uncomfortable to watch Affleck’s character, so devoid of morals and empty of soul, but it feels wasted on a small town deputy sheriff with no vision. Maybe that’s not such a bad thing … but it makes for a much weaker film.

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Posted by David Ferguson

CYRUS (2010)

July 4, 2010

 Greetings again from the darkness. Trying to come up with the best way to describe this one. It seems to be billed and marketed as a comedy, but it’s very dark and only funny in a few places. The drama is pretty weak at times and uncomfortable all of the time. The comedy really stems from the mano y mano of John C Reilly and Jonah Hill. Marisa Tomei is a not so innocent bystander.  The film just doesn’t lend itself to a particular label.

If you have seen the preview, you know the basic story. John C Reilly is a socially inept oaf who gets dragged to a party and makes a fool of himself. Marisa Tomei views him as something of a lost puppy and takes him under her wing. The big reveal occurs when Tomei’s grown son (Hill) shows up at an inopportune time. Yes, he lives with her and they have a very unique and close relationship.

Brothers Jay and Mark Duplass (writer and director) are known as part of the mumblecore movement – they subscribe to the less rehearsal and minimal script school of film-making. Luckily for them, Hill and Reilly take to this beautifully. Their scenes together are very good at creating an inner turmoil and utter frustration. Luckily for the audience, Reilly’s character has two scenes where he can unleash the lines that the viewers are all thinking! It makes for a nice release of tension.

Hill creates Cyrus as the epitome of a “sneaky little devil”. OK, he’s not so little, but the rest fits. His acts of subversion are well thought out and pure acts of passive aggressiveness. These three characters make for quite the odd little group, but there is surely some insight into single parenthood, loneliness and over-protective parenting. Don’t expect a slapstick comedy in the Judd Apatow mold … this one is a bit creepy and dark.  John Malkovich played the role in Con Air, but Jonah Hill is the real Cyrus the Virus.

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Posted by David Ferguson

THE CITY OF YOUR FINAL DESTINATION (2009)

July 4, 2010

 Greetings again from the darkness. Most everyone is familiar with the peak of Merchant-Ivory film collaboration which included: A Room With a View, Remains of the Day, and Howard’s End to name a few. Ismail Merchant died a few years ago, but director James Ivory returns with a powerful, yet odd film based on Peter Cameron’s novel.

The film boasts a very nice cast: Anthony Hopkins as the aging, gay man who is the brother of a famous (now dead) novelist; Laura Linney as the widow of the writer; and Charlotte Gainsbourg as the writer’s former mistress. Oh yeah, these three all live together (plus Hopkins’ younger Japanese partner) in a compound in Uruguay on land the writer left behind after his suicide.

The story gets interesting when Omar (played by Omar Metwally) shows up unannounced after receiving a declination of his request to write a biography on the novelist. Hopkins supports the idea as he expects it will generate book sales and revenue for the group. Linney is flat against it thinking it will spill too many secrets. Gainsbourg initially sides with Linney, but changes her vote when she falls for Omar.

On the surface, the story is about Omar’s attempt to win over Linney’s bitter character and change her mind. The much more appealing story is Omar’s awakening to life in this oddball community, now that he is out of the clutches of his domineering type-A girlfriend and co-worker played superbly by Alexandra Maria Lara. Talk about a personality that makes you want to run away to Uruguay! She almost makes Linney’s character seem charming.  Almost.

Mr. Ivory excels in subtlety and he is in fine form here. So many “little” moments make this story really click. It is also beautifully photographed. This is a really good film with interesting characters and a theme of finding one’s self that will probably get lost in the mass confusion of summer giants like Twilight and Toy Story 3. If you get the chance, make the time to see this one.

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Posted by David Ferguson

I AM LOVE (2009)

June 28, 2010

Greetings again from the darkness. A really good Italian film from writer/director Luca Guadagnino and a terrific performance from Tilda Swinton. The film centers on power and family and trust and self-discovery … and the complexities of each.

As a young, working class Russian, Emma (Tilda Swinton) is whisked away to marriage and life in the aristocracy of Milan. She dutifully raises her kids and organizes huge dinners and parties at their mansion as the Rechhi’s entertain business clients and their own family. It is during these parties that we realize Emma is technically part of the family, but really still an outsider. She escapes to her own space once the events are running smoothly.

Being an avid cook herself, she easily clicks with a brilliant young chef introduced to the family by her own son. Very little doubt where it’s headed at this point as Emma unleashes the pent up energy she has been forced to hide. While we are very aware that the upper crust has learned to look the other way with infidelity, that’s not the case with the Rechhi’s and their Russian wife/mother.

The brilliance in the film is that it shows how the younger generation doesn’t really fit any better than Emma. The difference is that they are part of the fabric and will be allowed more rope than an outsider. Still it is painful to watch Emma with her son, who can’t quite adapt to the family business. Better yet, to watch her with her daughter, who confesses her preference for other women. Emma sees herself in these two, but doesn’t have the same freedom. Her best ally is the caretaker who seems to understand the multiple levels on which this family functions.

Fascinating interactions and complex writing make this a film for film lovers. There is so little dialogue, but much is said with a glance or head nod. Many U.S. writers could learn a thing or two. Must also mention the startling score by John Adams. It is quite operatic, which plays along with the themes of the film.

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Posted by David Ferguson

WINTER’S BONE (2010)

June 28, 2010

Greetings again from the darkness. A double award winner at the Sundance Film Festival, this film is based on Daniel Woodrell’s novel and is directed by Debra Granik. It’s opening sequence slaps the viewer with the bleak unforgivingness of life in the backwoods of the Ozarks. This is land of people that time has passed by – a true community of isolation.

The basic premise of the story is that 17 year old Ree Dolly (played by Jennifer Lawrence) is responsible for raising her brother and sister and caring for her dementia-addled mother while maintaining a mostly positive outlook on the present and future. Reality strikes again when the local sheriff arrives to inform that her missing, meth-lab running father has an upcoming court date. He used their land and house as collateral for his latest bond. If he fails to show, they will lose their home. Instead of breaking down, Ree pledges to find him and starts out on a hazardous journey, unlike we have seen on screen.

This community of mountain people are distrusting of outsiders, but stunningly, are just as paranoid around insiders and even family members. Their way of life seems to depend on pure independence, even though they all seem intertwined in the same illegal activities and daily quest for survival. Some kind of odd code exists – ask nothing, give nothing and get rid of any obstacles.

The driving forces of the story are Ree and her constant hope and courage, and her shaky bond to her dad’s only brother, Teardrop, played chillingly by John Hawkes. Teardrop tries to toughen up Ree and get her to accept her plight, while Ree constantly shows him there is reason to plow forward.

The film is very well written and the local filming brings a harsh reality that was crucial to the film’s success. Additionally, I was stunned at the fierceness displayed by Jennifer Lawrence as Ree. Her performance reminded me of my first exposure to the talents of Meryl Streep (The Deer Hunter) and Evan Rachel Wood (Thirteen). Talk about powerful and exciting … what she did with this role vaults her immediately into a very small group of actresses who can carry a movie with their presence. I am anxiously awaiting her next appearance – a Jody Foster project.

I also want to mention the music in the film. The vocalist, Marideth Sisco, is also the vocalist in the living room band who makes an appearance in one scene. Her voice truly captures the balance of hope and acceptance of plight. This is not a movie for everyone, but it is fascinating and truly cuts to the bone.

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Posted by David Ferguson

PLEASE GIVE (2010)

June 6, 2010

 Greetings again from the darkness. If not for a friend’s recommendation, I probably would have avoided this one on the basis of writer/director Nicole Holofcener‘s last film, Friends with Money. I found that to be a miserable film filled with miserable people. This one, on the other hand, is a wonderful film filled with miserable people!

OK, that is a slight simplification, but it is an extremely well written story that showcases the imperfections of people, social situations and society as a whole. Sometimes it seems the harder we try, the worse things turn out. Such is the life of Catherine Keener‘s character. She and her husband (Oliver Platt) run a furniture resale shop. Kind of a Ghost of Furniture Past.  She carries around this enormous burden because they stock the store by buying cheap from grandchildren stuck with death’s aftermath … and then reselling to arrogant metrosexual types who live for kitsch and cool. Keener spends her time trying to scrape off the guilt by doling out money and doggie bags to the homeless.

There are many interesting characters in the film and that adds to the fun. Rebecca Hall (uptight Vicky from Vicky Cristina Barcelona) plays the dutiful granddaughter taking care of her 90 plus year old monster granny played colorfully by Ann Morgan Guilbert. Many will remember Ms. Guilbert as Dick Van Dyke’s neighbor in the early 60’s sitcom. Her key job in the film is to get on with dying so that Keener and Platt can take over her apartment and expand – the ultimate dream for a NYC resident. Hall’s character is the budded flower – the one just waiting to bloom as soon as the sun comes out (granny dies).

The mean-spiritedness of the grandmother is matched only by the vile spewing from Amanda Peet, Hall’s less than caring and untrustworthy sister who is obsessed with tanning … and the girl who “stole” her boyfriend. Peet’s character often just says what she is thinking which adds dimension to most conversations! There are some terrific scenes and moments and characters in the film, but the best written scene is the dinner party. Keener and Platt invite Hall, Peet and Guilbert over in a guilt-easing attempt to be civil while waiting for Granny to kick the bucket. The scene takes on an entirely new life when Keener/Platt’s daughter makes an appearance. Sarah Steele plays Abby as a smart, insightful teenager. Oh, and she is also mad at the world and bitter about her complexion and slightly pudgy build (which makes finding the right jeans a quest). The whole scene is one uncomfortable statement or moment after another. Beautiful to watch.

I could go on and on about the intricacies of the characters and their relationships with each other and outsiders, but what matters is that the film is well written and well executed. It is not some sappy, save the world rom-com, but rather a character study of what goes on in real life and in real moments. Plenty of humor, but also plenty of truth. Amazing how often those two go hand in hand.

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Posted by David Ferguson

THE SECRET IN THEIR EYES (El secreto de sus ojos, Arg., 2009)

May 30, 2010

 Greetings again from the darkness. I was a bit miffed when this film beat out both A Prophet and The White Ribbon for the Best Foreign Language Film at the 2010 Academy Awards. Since then, I have been anxious to see this “upset” winner. It is with great pleasure that I state my faith in the Academy voters is restored. This is a staggeringly wonderful film!

Based on the novel by Eduardo Sachesi, it is written and directed by Juan Jose Campanella, who also directed Argentina’s 2001 Oscar entry Son of the Bride. Mr. Campanella also has quite a resume of U.S. television in addition to his film work. What really stands out in “Secret” is the multitude of story lines and character development, none of which are cheated … yet each which could have carried their own as a film. This is terrific film-making with rare balance between comedic dialogue, a full-fledged crime drama, unrequited love and nasty politics.

The excellent script is helped along with fine acting by the key players: Ricardo Darin as Esposito, Soledad Villamil as Irene, Guillermo Francella as Sandoval, Pablo Rago as Morales, and Javier Godino as Gomez. Each actor has physical features that play well with the film’s title.

I certainly don’t wish to give away much of the substance of the film, but it mostly revolves around the investigation by Esposito and Sandoval into the brutal rape and murder of Morales’ young, beautiful wife. Esposito works for Irene and they have “eyes” for each other, and Gomez is the key suspect despite all the political maneuvering designed to throw the investigators off track.

There are a few outstanding scenes and two of my favorites were an incredibly intense elevator ride, and a fascinating crowd scene at a soccer/futbol game (including the year’s best single, long take). As you might guess, there are innumerable close-ups for a clear eye-level shot and the film bounces back and forth between 1974 and 2000, so we must adjust to the weak make-up.

For anyone who enjoys fine film-making and isn’t afraid of 2 plus hours of subtitles, you will surely be satisfied and impressed at the quality of this film.

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Posted by David Ferguson

HARRY BROWN (2009)

May 27, 2010

 Greetings again from the darkness. Michael Caine (at age 77) is like a favorite blanket … it just feels good to have him around. He always delivers a fine performance, and sometimes he puts it all together to provide proof of just what an outstanding actor he really is. Harry Brown is one of those films.

Some will take this as a revenge story in line with Bronson’s Death Wish, but I see it more in the vein of Gran Torino.   A “British” Gran Torino.  Caine’s Brown is not just after revenge for his buddy Leonard’s murder, but more importantly, he is trying to make a stand – to take back his neighborhood stolen by drug dealers and vicious punks.

Unfortunately for the film, a first time director (Daniel Barber) and a miscast Emily Mortimer don’t have the strength to keep up with Mr. Caine. Mortimer plays her detective role as if she is more of a social worker. It is actually painful to watch her. On the other hand, Ben Drew has a key role as Noel, a sinister punk lacking a conscience. His scenes with Caine are pretty intense.

The best scene of the film is when Harry Brown ventures inside a drug dealer’s lair to purchase a gun for his crusade. Caine must pull off the necessary subtlety and play it close to the vest in this quite volatile situation. Of course, not everything goes to plan and Caine’s character really takes off from there.

We are treated to the expected police department politics and the back-stabbing/not-who-I-thought-you-were character, but mostly this is one man’s mission to make things right and better. Who better than Michael Caine for that job?

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Posted by David Ferguson

ROBIN HOOD (2010)

May 20, 2010

 Greetings again from the darkness. Hard to argue with the box office success when director Ridley Scott teams up with Russell Crowe (Gladiator, American Gangster). Can’t really challenge the resume of writer Bryan Helgeland (Mystic River, L.A. Confidential) or the acting chops of Cate Blanchett, Max von Sydow or William Hurt. And only the most cynical would deny the appeal of the Robin Hood legend … stealing from the rich to give to the poor. So why is it that I feel so cheated and let down by this version?

First of all, it is presented as a prequel to the legend. This is the story of how Robin and his band of merry men (and Maid Marion) came to be united. If it is a prequel, why then is Robin (Russell Crowe) so darn old? There is even a line in the film noting the advanced age of King Richard the Lionheart being 40 or even more! For the times, this was considered old, yet somehow Robin is ready for a career change.

The best parts of the film are the amazing sets and pieces – both the villages and the boats. And we all know that Mr. Scott can film a massive battle scene! There is a touch of Gladiator, Saving Private Ryan and Braveheart in many scenes. All fine, but what I really missed was the flirtatious banter between Robin and Marion. Maybe I am biased, but a Lorena Bobbitt threat doesn’t strike me as light-hearted bed chamber conversation.

My biggest complaint is with the script. It just felt clunky and messy. A couple of scenes were apparently included just so Mark Strong could scowl … and he has a great scowl! Other scenes and lines were seemingly included just to give the film a complex feel. Probably too complex for what it really is.

Oscar Isaac as Prince John was the funniest and most interesting character in the film. The preview made him look like a buffoon, but the film gave him more depth … and a couple of great lines. Danny Huston as Lionheart, Mark Addy as Friar Tuck and Matthew Macfadyen as the Sheriff of Nottingham all add to the luster, but remember this is prior to Robin’s ongoing battles with the Sheriff.

Be cautious with younger kids as it is a strong PG-13. The battle scenes are entertaining, but this is one legend that did not need its roots exposed.

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Posted by David Ferguson

THE JONESES (2009)

April 17, 2010

 Greetings again from the darkness. Don’t really have much to offer on this one other than it would have been more current in the mid-90’s. A statement on overindulgence and consumerism during a recession comes across as lame and not particularly funny or poignant.

The con is simple. Demi Moore, David Duchovny, Ben Hollingsworth and Amber Heard pose as the “it” family unit whose sole purpose is to be the coolest people with the coolest toys, clothes, furniture and cars. First of all Hollingsworth and Heard (from Zombieland) are 25 and 24 respectively, and do not look like high school students (a movie pet peeve). Secondly, NO ONE would ever believe one family could possibly have ALL of this stuff.

The script is all over the place trying to make commentary on the morals of what this grift does to the participants … both those on the inside and the targets themselves. David Duchovny, to his credit, has a couple of decent scenes, but Demi Moore just comes across as trying way too hard.

It was nice to see Lauren Hutton and Gary Cole have somewhat important roles and I did enjoy looking at the great house and cars. But never did I buy into the story or the self-marketing. Nice idea that would have complimented the original Wall Street movie back in the day.

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Posted by David Ferguson

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