HOLIDAYS AT ALL COST (2021)

October 27, 2021

Austin Film Festival 2021

Greetings again from the darkness. After watching the trailer, I settled in for what I expected to be a traditional French farce, always a welcome relief from the usual festival heaviness. While I can’t say the trailer is misleading – all of the scenes are present in the movie – it’s just that writer-director Stevan Lee Mraovitch has delivered more of a dark comedy with a message than a laugh-a-minute joy ride in his feature film debut.

Oumar Diaw (brilliantly) stars as Frederic, a technology installer who works for a boss that never hesitates to take advantage of Fred’s natural passivity. Set to take his lovely wife Fanny (Donia Eden) and young son Max (Swann Nguma-Torre) on the first family vacation in years, Fred runs into money issues thanks to a broken promise from his boss. Rather than come clean and disappoint his wife, Fred cuts a deal with his childhood friend Jean-Luc (Benjamin Garnier) who runs a luxury resort in the area where they all grew up together. Frederic agrees to work for Jean-Luc in exchange for the price of a room.

It becomes apparent to us (not to Fred) that Jean-Luc’s ulterior motives include winning back the girl of his dreams … Fanny. So the evil Jean-Luc initiates an elaborate plan, not for world domination, but to keep Fred occupied with increasingly outrageous pranks, so that Fanny will be forced to spend time with Jean-Luc. The sabotage of a relationship is a bit painful to watch because we really like Frederic, and can’t much stand the sight of Jean-Luc.

There are some funny gags here, with the best being “Frozen Surfer” during yoga. “Digital nomad” becomes a nice catchphrase for those in today’s generation who carry little interest in excelling at an occupation. Vacation-gone-wrong movies are plentiful, but here it serves as the foundation for a story about relationships, friendship, selfishness, and self-worth. Filmed in the gorgeous countryside and beaches of the South of France, director Mraovitch has made quite an impact with his first film.

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Posted by David Ferguson

THE ELECTRICAL LIFE OF LOUIS WAIN (2021)

October 21, 2021

Greetings again from the darkness. If you fancy yourself a cat lover, you’ve likely seen his drawings, or at least some of the many ‘copies’ that other artists have produced over the years. Louis Wain was a prolific British illustrator, best known for his anthropomorphic paintings and drawing of cats (think of the kitschy paintings of dogs playing poker). Writer-director Will Sharpe and co-writer Simon Stephenson have delivered a biopic of Wain that focuses less on his art, and more on his gradual mental breakdown.

The film opens in 1881, and Louis Wain (played by Benedict Cumberbatch) is a young man, whose life has just drastically changed. The death of his father has forced Wain into the role of breadwinner for his five younger sisters and their aging mother. Initially, we aren’t sure what to make of Wain. His stern and demanding sister Caroline (Andrea Riseborough) is unforgiving of his whims and demands that he find steady work to support the family. An interview with an editor/publisher played by Toby Jones allows us to see what a gifted illustrator Wain is … and his speed is substantially due to an incredible ability to draw with both hands simultaneously.

Wain’s eccentricities include a belief in the electrical currents that drive all life forms. The film doesn’t spend much time on this, but it seems to be a cog in his mental illness – deemed schizophrenia (though that’s been debated). Wain overcomes his insecurity around his cleft lip and marries Emily Richardson (Claire Foy), the governess to his sisters. For the times, this was quite a scandal, given the differences in age and social standing of Louis and Emily. However, it seems as though she was the only one who understood and encouraged him as an artist.

When tragedy strikes, Wain becomes inspired by their pet cat, Peter. In fact, Peter becomes Wain’s muse, and leads to thousands of drawings for publication in newspapers, magazines, greeting cards, and just about every other platform. Olivia Colman provides some lively narration, and Taika Waititi and Nick Cave both have brief cameos. Cumberbatch is a bit over-the-top with his tics in the first half of the film, but his talent is clear as he portrays a man whose mental health deteriorating, and one who must rely on his special skill to find purpose. Wain spent the last 15 years of his life in a hospital, illustrating right up until the end. While Wain’s legacy lives on in his work, there is also a message here – embrace your weirdness!

Amazon Studios will release THE ELECTRICAL LIFE OF LOUIS WAIN in theaters on October 22nd, 2021 and on Prime Video on November 5th, 2021

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Posted by David Ferguson

HARD LUCK LOVE SONG (2021)

October 14, 2021

Greetings again from the darkness. The opening credits inform us that the film is based on Todd Snider’s 2006 song, “Just Like Old Times”. This caused me to stop the film before it ever really got started. I was initially stumped … other than Christmas and Elvis movies, what others were based on a song?  I spent a few minutes thinking and came up with ALICE’S RESTAURANT (1969, Arlo Guthrie song), THE INDIAN RUNNER (1991, based on Springsteen’s “Highway Patrolman”), ODE TO BILLY JOE (1976, Bobbie Gentry’s song about that Tallahatchie Bridge), and of course, CONVOY (1978, CW McCall’s annoying song). To my surprise, It turns out a movie based on a song is uncommon, but certainly not rare. I’m sure you can come up with others.

Director and co-writer (with first time screenwriter Craig Ugoretz) Justin Corsbie grew up in Austin, the live music capital of Texas, so it’s only fitting that he would deliver a movie about a dreamer who never realizes his dream of songwriting and performing. In fact, Jesse (Michael Dorman, THE INVISIBLE MAN, 2020) probably would be considered a “loser” by most. He certainly drinks too much. Drugs are not off limits. He tells lies with ease in social situations. And he ruined the best relationship he ever had, although he was too drunk to remember how it happened. Despite those “flaws”, Jesse is a pretty easy guy to like – quick with a smile and a hug.

Jesse doesn’t work as hard at songwriting as he should, but he does have a knack for hustling games in pool halls. One particularly big score puts him at odds with local baddie Rollo, played by mohawked and grilled-out Dermot Mulroney, looking about the roughest he’s ever looked. Once he slides out the backdoor to escape, Jesse immediately calls Carla (Sophia Bush, “Chicago P.D.”), his one-that-got-away. When they meet up at his room at the Tumble Inn (as cheap as it sounds), he tells her he’s on a lucky streak and “I’m doing good now”. They fall into a natural and familiar rhythm of old habits that include booze and drugs. Carla knows Jesse better than he knows himself, but she can’t help the attraction.

Of course, Jesse and Carla never have a smooth evening. First, Officer Zach (Brian Sacca, THE WOLF OF WALL STREET) knocks on the door after a noise complaint, and searches the room. It’s another Jesse interaction that pays off later. Next, while visiting the bar where she works, Carla and Jesse cross paths with her boss Skip (Eric Roberts playing Eric Roberts) and bartender Sally (the always great Melora Walters (MAGNOLIA). And yet we knew it was only a matter of time until Rollo and his crew would track down Jesse.

The confrontation gets ugly and violent and noisy, and we meet our final key character in Louis (RZA, AMERICAN GANGSTER, 2007), who is Carla’s boyfriend with a certain talent that comes in handy for Jesse. It’s an odd ending befitting the characters. Filmmaker Corsbie has a feel for the underbelly of music towns like Austin, train wreck characters like Jesse, and bad seed relationships of the ‘can’t live with him – can’t live without him’ type. Extra points are scored for the FIVE EASY PIECES nod, and Ms. Bush and Mr. Dorman perform admirably. A clip of Todd Snider performing his song plays over the closing credits, and we can’t help but chuckle at how the lyrics mirror what we just watched. A nice final touch.

Roadside Attractions will release HARD LUCK LOVE SONG in theaters October 15th, 2021

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Posted by David Ferguson

NO TIME TO DIE (2021)

October 10, 2021

Greetings again from the darkness. Bond 25 is here, and it’s quite a curtain call for actor Daniel Craig. The film’s release has been postponed numerous times since September 2019, which has caused expectations and anxiety to build amongst Bond fans. It’s been almost six years since SPECTRE (2015), and this is Daniel Craig’s fifth and final turn as 007. This production faced challenges even before the pandemic hit. Cary Joji Fukunaga (best known for “True Detective” and BEASTS OF NO NATION, 2015) was hired to direct after Danny Boyle stepped down (or whatever happened), and Phoebe Waller-Bridge was brought in to spice up the dialogue on the script from Fukunaga, Neal Purvis, and Robert Wade (the latter two having been involved in writing all five Bond movies for Craig). Of course, it’s Ian Fleming to whom we stand eternally grateful for the original characters.

For those accustomed to the James Bond cinematic formula, you’ll notice quite a few differences – beginning with the opening scenes. Traditionally, breathtaking action kicks off the film; but this time a shift in tone and style serves up a tension-filled opening that occurs a few years prior to the rest of the story. It takes a few minutes before we get the first true action sequence. Of course, we must keep in mind that we are dealing with a “retired” James Bond (don’t worry, it’s not like “fat Thor”) … in fact, there’s already a replacement 007 and she (Lashana Lynch, CAPTAIN MARVEL, 2019) packs quite an attitude and skill set.

It’s his old CIA buddy, Felix Leiter (Jeffrey Wright), who draws Bond back into the espionage game, and of course, the reason is to save the world (what else could it be?). This year’s world-domination-seeking villain is the cleverly named Lyutsifer Safin, and he’s played by Oscar winner Rami Malek (BOHEMIAN RHAPSODY, 2018). Safin is a low-key baddie whose weapon is a DNA-altering chemical that’s probably a bit overly complex for a Bond movie, and it’s also a bit strange that Safin/Malek only has a few substantive scenes. For those who saw SPECTRE, you’ll recognize many of the faces, including Lea Seydoux as Madeleine Swann, Ralph Fiennes as M, Ben Whishaw as Q, Rory Kinnear as Tanner, and Naomie Harris as Moneypenny. Also back for a terrific scene is Oscar winner Christoph Waltz as Blofield. The new faces include the aforementioned Lashana Lynch as Nomi, Billy Magnusson as Logan Ash, and Craig’s KNIVES OUT co-star Ana de Armas as Paloma. Ms. de Armas brings a jolt of energy and some smiles to the proceedings, and it’s a shame her appearance is so short.

It’s unusual for a Bond song to win its Grammy before the movie is ever released, but that’s exactly what happened for Billie Eilish’s achingly somber title song. Oscar winner Hans Zimmer (THE LION KIING) delivers a wonderful score in his first Bond outing (you’ll hear how he incorporates the Eilish song), and the cinematography from Oscar winner Linus Sandgren (LA LA LAND) is everything we could hope for in the action sequences (there is no shortage of bombs), as well as the quiet moments.

Speaking of the quiet moments, this is undoubtedly the most sentimental and emotional of all Bond films. Sure, we get the amazing set pieces, the crazy stunts, the awesome Aston Martin (until it isn’t), the cool gadgets, the wisecracks, and the shootouts – but we also get Bond at his most reflective and personal. There is a line in the film, “Letting go is hard.” And it is … both for Bond and for us. So welcome back and adieu, Mr. Bond. Craig. Daniel Craig.

The film opens in U.S. theaters on October 8, 2021

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Posted by David Ferguson

MASS (2021)

October 8, 2021

Greetings again from the darkness. A normal life is no longer possible. The question becomes, how does one go on in the aftermath of an unimaginable (yet all too common) tragedy that takes the life of one’s child? This the feature film debut of writer-director Fran Kranz. He’s an actor you’d likely recognize from JUNGLELAND and THE CABIN IN THE WOODS. Rather than choose some lightweight project to kick off his filmmaking career, Franz serves up a gut-wrenching confrontation that would work just as well (if not even better) on stage in live theater.

It’s an awkward and maladroit opening as two church volunteers (Breeda Wool and Kagen Albright) and another woman (Michelle N Carter, who’s either an attorney or a therapist), are preparing an isolated room for what is clearly a high-stakes meeting. The room will have a table and four chairs, and enough refreshments for 20 people. Almost the entire movie will take place in this room, around that table and away from the church choir practice.

The four anticipated guests arrive, and it’s two couples – four people uneasy and unsure about the meeting. After some initial small talk, we finally learn Evan, the son of Martha Plimpton and Jason Isaacs, was shot by Hayden, the son of Ann Dowd and Reed Birney. It’s been six years since the Columbine-like school shooting and both couples are seeking closure to the immense grief they’ve carried. There is also the overwhelming burden of guilt and the weight of blame.

These are four recognizable and accomplished actors working in ways we typically only see on stage. The always superb Ms. Dowd (“The Handmaid’s Tale”) and the often villainous, yet always effective, Mr. Isaacs (“The OA”) are truly at the top of their game, which is to take nothing away from the performances of Mr. Birney (“House of Cards”) and Ms. Plimpton (Keith Carradine’s daughter, and from a child actor in THE GOONIES to a series lead in “Raising Hope”). Their interactions mostly feel grounded in emotions, and we as viewers find ourselves dragged right into their personal misery.

A flower arrangement, a box of Kleenex, bagels, piano music, and a Christmas photo all play a role, but this is an actor’s showcase, and director Kranz gives each their time in the spotlight. These are four people who consider themselves good parents, and one has the fortitude to say it aloud, “I raised a murderer.”

This is couples therapy re-imagined, and it’s a necessary but painful step for four people who have endured more than any parent should endure. Both sides of the table highlight our worst fears as parents, but equally as important, is the need for forgiveness – of others and ourselves. This one will likely stick with you for a while.

Bleecker Street will release MASS in theaters on October 8th, 2021

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Posted by David Ferguson

LAMB (2021, Iceland)

October 8, 2021

Greetings again from the darkness. The opening sequence is surreal and a bit creepy, and with it, first time director Valdimar Johannsson accomplishes a couple of things. First, we witness the rugged beauty of rural Iceland, and second, he sets us up for a bizarre tale, as we follow a heavy-breathing unseen creature (or being) that frightens some wild horses before making its way into the sheep pen. Johannsson co-wrote the script with Sjon, the renowned Icelandic novelist, poet, screenwriter, songwriter, and composer.

Noomi Rapace (THE GIRL WITH THE DRAGON TATTOO, 2009) stars as Maria, and we watch as she and her husband Ingvar (Hilmer Snaer Gudnason) work their remote sheep farm mostly in silence. There seems to be no joy and little connection between them as they go about their chores and duties. The seasons pass until its time for the sheep to give birth (as you might have guessed from the title). It’s at this point where I simply must be careful about what I write, as the less one knows about this one going in, the more effect it’s likely to have. Personally I knew nothing ahead of time, and had not even watched the trailer. Because of that, this easily rates as one of the most bizarre movies I’ve ever watched.

Remember the old margarine commercial, “It’s not nice to fool Mother Nature”? Well, Maria and Ingvar interpret one strange occurrence as “a gift” from nature and the key to their re-discovered happiness. When Ingvar’s troubled brother Petur (Bjorn Hlynur Haraldsson) shows up, his first question is “WTF is this?” That’s as close to a spoiler as I’ll come here, but there are multiple interpretations to be had: the power of nature, loneliness, the challenges and rewards of parenting, commentary on those who treat their pets as kids, and the devastation of grief followed by the hope of redemption.

There are moments of irony with wool sweaters and entrée selections, as well as some dark humor in regards to bath time, an observant cat, a loyal and smart dog, and one specific irked ewe. This is a remote farm in rural Iceland and the setting adds to an already unorthodox story … one which is pulled from Icelandic folklore. Johannsson is to be commended for his initial work. It easily could pass as a project from the creative mind of Yorgos Lanthimos (THE LOBSTER) or Robert Eggers (THE WITCH). In fact, the film’s co-writer, Sjon, is also writing Eggers next film, THE NORTHMAN, slated for April 2022.

Beyond the setting, the atmosphere, and bizarre aspects of the story, what makes it work is how the characters play it straight. These aren’t talkative folks and we believe they could exist in this environment. Ms. Rapace delivers a strong performance, and that shocking ending reminds us not to mess with nature.

A24 is releasing the film in theaters beginning October 8, 2021

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Posted by David Ferguson

WHAT BREAKS THE ICE (2021)

September 30, 2021

Greetings again from the darkness. We’ve seen movies where the seasonal residents interact with the locals, and often the class differences come into play. The term for northerners who head south for the winter is ‘snowbirds’. In the Hudson Valley, we learn the ‘townies’ have a nickname for the rich folks who come for the summer … ‘Joy Riders’. This is the first feature film from writer-director Rebecca Eskreis, and she displays a real feel for the contrast that exists between these two groups.

Madelyn Cline (BOY ERASED, 2018) stars as Emily, one of the wealthy ‘joy riders’ who befriends local townie Sammy (Sofia Hublitz, who is so good as the daughter in “Ozark”). For no good reason, other than Madelyn’s boredom, the two girls become friends. They hang out, play tennis, and have lunch together. One night they are at a party and things go bad with Sammy’s creepy stepbrother Travis (Joel Allen, THE PURGE, 2019). The event not only tests the friendship of Sammy and Emily, but also reveals character and secrets from the past.

The film opens with a cool shot of Hudson Valley, and in fact, cinematographer Greta Zozula does a nice job through the entire film. As you would expect with teenagers, things get complicated, and the class difference is only part of what makes the story and characters interesting. Supporting roles are filled by Lukas Gage (“The White Lotus”), Aimee Mullins (“Stranger Things”), and Shakira Barrera (“GLOW”), but most of the heavy lifting here comes courtesy of Ms. Cline and Ms. Hublitz, despite both being a bit too old to play teenagers.

Not quite at the level of THOROUGHBREDS, a similar movie from 2018, the film certainly proves Rebecca Eskreis is a filmmaker to follow. She understands small town dynamics, class disparities, and female friendships … and does so in a way that’s grounded and realistic. There is no staginess to this production, and we have a real feel for the characters almost immediately – a tribute to the actors and the script. 

In theaters and on Digital beginning October 1, 2021

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Posted by David Ferguson

THE EYES OF TAMMY FAYE (2021)

September 16, 2021

Greetings again from the darkness. We now have the latest example for those who fall on one side or the other when it comes to documentary vs dramatized biopic. Director Michael Showalter (the excellent THE BIG SICK, 2017) and writer Abe Sylvia have adapted the 2000 documentary from Fenton Bailey and Randy Barbato – and even kept the same title. The focus here (obviously) is on Tammy Faye Bakker, as she and her televangelist husband Jim skyrocketed to fame before imploding in a quite public and spectacular fashion. Jim went from world-renowned Christian TV personality to scandal-burdened prison inmate, while Tammy Faye rose up from roots of poverty to beloved personality, before becoming a media and Talk Show punchline caricature.

Regardless of your preferred biopic style, or your memories of the Bakkers’ rise and fall, most of us can agree that Jessica Chastain delivers a superb and entertaining performance as Tammy Faye. Already established as one of our finest actors, this is truly a passion project for Ms. Chastain, as she purchased the film rights nearly a decade ago. Here, as you might expect, her features are often buried under prosthetics and mounds of make-up to achieve the oh-so-familiar Tammy Faye look. She captures the babyish voice, the recognizable chuckle, and even sings the songs (very well) that Tammy Faye sang on camera and released albums.

Depending on your expectations, the film serves up a sympathetic view of a true believer with a heart of gold, or it merely skims the surface of a ministry filled with fraud, greed, and deception. And it’s likely both. Tammy Faye is a bit of an enigma. As a child, she was forbidden by her mother (Cherry Jones) from attending church, as she served as a reminder of the ‘Scarlet D’ (divorce) burdening her mother. However, one sip of the sacrament sent young Tammy Faye (Chandler Head) into speaking in tongues and on the road to North Central Bible College where she would meet Jim Bakker.

Andrew Garfield portrays Jim Bakker, and captures the very familiar speech pattern and effeminate mannerisms of the man who proclaimed God did not want poverty for his followers … a belief that led first to the Bakkers’ “The 700 Club” on Pat Robertson’s (Gabriel Olds) Christian Broadcasting Network, and ultimately to their own network and “The PTL Club”, followed by Heritage USA, a Christian theme park. Along the way, they crossed paths with the powerful, ultra conservative Christian, Jerry Falwell (a reserved Vincent D’Onofrio), a man who was envious of the number of followers and the dollars generated by Jim and Tammy Faye. Falwell filled a significant role in how things played out for the Bakkers, and that part is touched on here.

Showalter opts to open the film with a montage of newscasts reporting the Bakker collapse, followed by Tammy Faye in 1994 commenting on her famous eyelashes by stating, “That’s who I am.” The rest of the film is a re-telling of the Tammy Faye story, though we are left to ponder, ‘How much did she really know?”. We see a good-hearted person – a woman brave enough to publicly stand up for the LGBTQ community despite the objections of powerful men in the church. We also see a woman who enjoys fine luxury living and asking few questions, while consistently holding to her message, “God loves you. He really does.” Evangelicals, hypocrisy, financial standing, and political influence are all part of the story, but this is no deep dive into what sent Jim Bakker to prison. Even the Jessica Hahn scandal garners but a brief mention. Instead, this is the story of one woman who was trusted by so many prior to becoming a punchline. One could even say Jim and Tammy Faye were the pioneers of Reality TV, and their rise and fall are only unusual due to the ties to Christianity.

In theaters September 17, 2021

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Posted by David Ferguson

THE KILLING OF KENNETH CHAMBERLAIN (2020)

September 16, 2021

Greetings again from the darkness. No one denies law enforcement officers have a tough and demanding and risky job. However, with cell phones putting video cameras in the hands of just about everyone, any poor decision by cops … and certainly any tragic one… is likely to get recorded and then plastered across all media. Writer-director David Midell delivers a dramatized reenactment of a tragic and inexplicable interaction between one man and a team of frustrated cops whose actions proved deadly.

On November 19, 2011, former Marine Kenneth Chamberlain Sr was asleep in his White Plains, NY apartment. He rolled over and accidentally enacted his LifeAid alert pendant. Since he slept without his hearing aids, Kenneth didn’t hear Candace, the LifeAid operator, try to reach him. Following protocol, Candace ordered a welfare check. 90 minutes later, Kenneth lay dead – killed by police after they broke down his front door. The tension during that 90 minutes is nearly unbearable.

Frankie Faison (“Banshee”) gives an excellent and gut-wrenching performance as Chamberlain. We ‘feel’ everything he says. As he talks to the cops through the door, we learn he has a heart condition, as well as a mental health issue (likely bi-polar). His constant pleas of “leave me alone”, “I’m fine”, the alarm “was an accident”, and “you’re not coming in” all heighten the sense of impending doom he feels. We feel it too. His experience tells him to expect something to go wrong anytime the police are involved.

The three cops banging on his door are Sergeant Parks (Steve O’Connell), Officer Jackson (Ben Martin), and Officer Rossi (Enrique Natale). Jackson is the racist, hot-headed gum-smacking cop (blond of course) who has judged Chamberlain simply by the demographics of the run-down complex he lives in. Rossi is the empathetic rookie cop who has a feel for the pressure Chamberlain is under, and his attempts at preaching patience are shot down by the more experienced cops. Parks has little time for Rossi’s cuddly approach or Jackson’s on-edge nature, but he’s not appreciative of Chamberlain’s refusal to cooperate, and certainly can’t relate to his distrust of the badge.

Midell’s film has been well received at film festivals the past couple of years, and his ‘real time’ approach coupled with the performances and the claustrophobic setting (it all takes place in Chamberlain’s apartment and the stairwell outside his door) work to give us a feel for the emotions and nervous energy of the situation. Throughout the ordeal, Chamberlain communicates with Candace at LifeAid and his own family on his cell. The opening quote tells us that depending on who you are, the sight of a police officer could mean “safety” or “terror”. This film relays the latter, and the actual audio and photos over the closing credits prove this horror film was unbearably true. “This is my home” was not enough for Kenneth Chamberlain. One small quibble: Chamberlain’s hearing aids come and go through the film.

In select theaters and VOD on September 17, 2021

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Posted by David Ferguson

THE NOWHERE INN (2021)

September 16, 2021

Greetings again from the darkness. Have you ever wondered what would happen if David Lynch and Fred Armisen collaborated on a contemporary reimagining of THIS IS SPINAL TAP (1984)? Well, me neither, and that has not happened. But it’s the closest I can come to giving you some idea of this meta-comedy concept film from director Bill Benz and co-writers and co-stars Carrie Brownstein and St Vincent.

We are told that initially singer-songwriter-musician St Vincent has asked her friend Carrie Brownstein to direct a documentary on the singer and her tour. Brownstein envisions a blend of concert and offstage footage so that fans get to know the “real” St Vincent. It turns out the real St Vincent is Annie Clark, a woman who plays Scrabble and video games, and loves to shop for radishes at local Farmers Markets. The contrast between St Vincent’s onstage red guitar riffs, giant video screen, leather outfits and her offstage calm personality is not just stark, but actually a bit boring.

Boring is not what Brownstein has in mind and it creates a rift between the two women, and flips a switch for St Vincent. The musician goes overboard in trying to manufacture the typical rock star image of cool and aloof. Brownstein is frustrated not just with the artificiality of the new approach, but also in the expanding distance between the two friends. Some of the vignettes are quite humorous – in a surreal way. St Vincent stages an intimate scene in her bedroom with a scantily clad Dakota Johnson, and then another sequence features St Vincent’s “family” in a scene right out of “Hee-Haw”.

The satire on public vs private life is a topic worthy of discussion. Often it’s the fans who feel entitled to know more about their icons, while other times it’s the celebrities who are trying to cultivate a public image and garner some extra publicity. In this era of social media, the bigger the personality – the more outlandish – the more publicity and the more followers.

Director Benz’s film drags a bit in the middle, and the final act turns somewhat surreal as Brownstein and St Vincent both have their lapses from reality. Both seem to be confused about their public persona vs real life, so it begins to mimic what’s happened with the original documentary concept. There is a terrific scene involving St Vincent singing on stage and working her way through red velvet stage curtains, but for the most part this isn’t a biting satire – it’s more like a soft-touch. The “Portlandia” connection is clear throughout (Benz, Brownstein, St Vincent) but I’m not sure the film is cohesive enough (mockumentary? wry comedy? satire?) for a mass audience … it might work best as midnight madness.

In theaters September 17, 2021

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Posted by David Ferguson

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