ON THE ROCKS (2020)

October 4, 2020

 Greetings again from the darkness. Sofia Coppola cemented her place among top filmmakers with the instant classic LOST IN TRANSLATION (2003). Sure, she’s had other successes with THE VIRGIN SUICIDES (1999), MARIE ANTOINETTE (2006), and SOMEWHERE (2010), but it’s her thought-provoking and self-analytical film with Bill Murray and Scarlet Johansson that struck an emotional nerve for so many. This time, she reunites with Murray in what could easily be a companion piece, as it’s both familiar and not.

Rashida Jones (“Parks and Recreation”) stars as Laura, who is trying to find herself as a writer amidst the fatiguing responsibilities that go with being a mother and wife, and having age 40 staring her in the face. Marlon Wayans (WHITE CHICKS, 2004) plays her charming, just-started-a-new-business husband Dean, who may or may not be cheating on her. Whether it’s Laura’s concern over how “boring” she has become, or the little clues she finds … well, it’s probably nothing … but doubt grows into suspicion.

It’s at this point when Felix (Murray), Laura’s father, enters the story. Felix is a likable cad (probably an archaic word, but it fits), who has never been much of a father to Laura. Instead he chases fun and skirts, and begins convincing Laura that all men are like him. Director Coppola examines contemporary relationships, and the insecurities that come with a long-term commitment. Can one person be enough? Can men be trusted?

What follows is an offbeat father-daughter husband-spying adventure, and an ill-advised one at that. Felix pulls up in his Alpha Romeo, and the two enjoy caviar on their stakeout – with the top down on the convertible. This leads to a scene clearly written to take advantage of Bill Murray’s talents. As he zips the sports car through the city, he gets stopped by New York’s finest. Depending on your perspective, you’ll either view this as a prime example of white privilege, or as the benefits of spending one’s life being a good listener, attentive to others – a people person making connections.

There is a great line from Felix that carries a great deal of weight, although it’s easy to treat it as a ‘throw away” line. He advises Laura, “You need to start thinking like a man.” Spending time with her dad makes her wonder if he’s right – do all men think like him? This plays well against the non-stop yapping mother Laura gets regularly cornered by when dropping her daughter for school. Jenny Slate is perfectly annoying as the mother who not only still thinks the world revolves around her, but also that the world is still interested.

Of course, we know, and Laura figures it out: her father worships her. He may gallivant around the globe looking for his next notch, but he absolutely realizes what a beautiful soul his daughter is, and what a better person she is than him. Probably the best lesson Ms. Coppola offers is that communication is key … or lack of communication can cause a thought to spin out of control. Sofia Coppola and Rashida Jones are both daughters of giants in their field, and likely could relate to having a larger-than-life figure cast a shadow. Eagle-eyed viewers will spot Barbara Bain as Gran. Ms. Bain rose to fame as Cinnamon Carter in the 1960’s TV series “Mission: Impossible”. She’s now 89 years old and still working! Sofia Coppola has delivered yet another film that’s interesting and provides terrific conversation after watching.

watch the trailer

Leave a Comment » | Comedy, Drama | Tagged: , , , , | Permalink
Posted by David Ferguson

ETERNAL BEAUTY (2020)

October 1, 2020

 Greetings again from the darkness. There is an odd line early on in which the psychologist says, “Don’t fight depression. Make friends with it.” What makes this an odd line is that Jane is a paranoid schizophrenic, and depression doesn’t seem to be a driving force in her life. Craig Roberts wrote and directed the film (his second feature as director). You might know Mr. Roberts as an actor. He played the lead in SUBMARINE (2010). His approach as a filmmaker is one that keeps the audience off-balance; in fact, we can simply state this one is weird.

Sally Hawkins (THE SHAPE OF WATER, 2017) plays Jane. She lives on her own thanks to medication. Her family is present, though not especially supportive. A flashback takes us to Jane’s wedding day where a younger Jane is played by Morfydd Clark (THE PERSONAL HISTORY OF DAVID COPPERFIELD, 2020). Jane is spurned on her wedding day by her husband-to-be, and it pushes her over the edge emotionally and mentally.

An early scene gives us a peek at current day Jane. She brings wrapped Christmas presents to her parents’ house, and promptly hands over the receipts to each family member. She purchased her own gifts, acts surprised and grateful as she opens them, and expects her parents and sisters to repay her for the gifts. It’s quite a scene.

We follow Jane through her days as she seems to drift in and out of awareness and reality. She periodically hears her phone ring, and by answering she hears the voice of her former fiancé. The red phones match the phone she was on during her last conversation with him on her wedding day. It’s her most painful and visceral memory, and one that Jane can’t seem to overcome.

Relationships between the parents and the sisters are quite something to behold. Penelope Wilton (THE BEST EXOTIC MARIGOLD HOTEL, 2011) is the mother prone to cruelty and confusion, whereas the father (Robert Pugh, MASTER AND COMMANDER) nearly fades into the wallpaper, though seems more empathetic. Jane’s sisters Nicola and Alice are played by Billie Piper (“Penny Dreadful”) and Alice Lowe (GET DUKED!, 2020). Nicola envies Jane’s ability to collect free money (disability), while Alice is estranged from their mother, and claims her “normal” life is boring.

When Mike (David Thewlis from Charlie Kaufman’s latest, I’M THINKING OF ENDING THINGS) enters the picture, it’s like a jolt of electricity from touching the wrong wire. Mike is somehow stranger than Jane, yet they manage to connect. As an example of the film’s odd dialogue, when Jane asks Mike how things are going, he responds, “Things were looking up for a few weeks, a couple years back.” That’s the type of exchange we deal with throughout, and it takes an inordinate amount of energy to process what we see and hear.

One shot from cinematographer Kit Fraser is a particular standout. It comes from inside a microwave, replete with rotisserie base and Jane’s face peering through the glass. There are numerous moments we’ve not previously seen or heard in movies … like the doctor clarifying if the patient is “fine or good”. Ms. Hawkins delivers another strange, but affecting performance … something she has mastered over the years. She always makes the character hers, and makes us care about her. An added bonus is hearing Ricky Nelson sing “I Will Follow You” … slightly more soothing than David Thewlis’ frantic electric guitar performance. It seems certain that filmmaker Roberts agrees that normal is boring, and he ensures his film and characters are not.

watch the trailer:

https://www.youtube.com/watch?v=9q_oBwY5AOk

Leave a Comment » | Comedy, Drama | Tagged: , , , , , , , , , | Permalink
Posted by David Ferguson

ONCE UPON A RIVER (2020)

October 1, 2020

 Greetings again from the  darkness. Haroula Rose is an extraordinary talent. She’s a singer, actor, writer, producer, and director, and she’s continuing to prove she’s very good at all of the above. This is her first time directing a feature length film, and she also adapted the screenplay from the popular 2011 novel written by Bonnie Jo Campbell. The film has a unique look and feel, yet is so accessible we are drawn in from the stunning opening shots.

Kenadi DelaCerna stars as Margo Crane, a teenage Native American living on the Stark River with her beloved father (Tatanka Means, “Banshee”). Taking place in 1977 rural Michigan, the film shows Margo’s father teaching her how to hunt and fish, and honing her sharpshooter eye with a rifle. We learn that a year ago, Margo’s mother left a note explaining that she had to “find” herself, though other rumors circulate through the small community. This abandonment is only the first of many unfortunate situations Margo must face. Two of these involve her father’s half-brother Cal (Coburn Goss, MAN OF STEEL), a demented, yet powerful man in town – and his two entitled sons. The most tragic event pushes 15 year old Margo to set off down the river by herself (with her “Annie Oakley” biography), in hopes of locating her mother.

At this point, it’s tempting to label this a ‘coming-of-age’ story, and while it is that, it’s also much more. Margo’s journey finds her crossing paths with Will (Ajuawak Kapashesit), a Native American researching his roots, and Smoke (John Ashton, BEVERLY HILLS COP), a grumpy old codger with emphysema. In the simplest of terms, Margo is a teenage runaway, but there’s nothing simple about Margo. Along the way, she’s discovering life lessons and finding out what she’s really made of. One of the most stunning moments (and there are a few) occurs when Margo tracks down her mother (Lindsay Pulsipher, “True Blood”), and calls her out on the lie she told to “find” herself a shiny new life. When the mother asks Margo, if Cal ever asks about her, I nearly fell out of my chair. That line carries so much weight.

The cinematography from Charlotte Hornsby delivers the breathtaking beauty of nature, as well as the pain and intimacy of the characters. Even the music of Zac Rae follows the travails of Margo as she continues on. We are accustomed to seeing grizzled men living off the land and making their own way, but not teenage girls. The closest comparison I can come up with is Debra Granik’s superb 2010 WINTER’S BONE, which introduced many of us to Jennifer Lawrence. Here, it’s Kenadi DelaCerna, with her first acting credit, who carries a difficult film. It’s fascinating to watch her skin a rabbit and soon after, figure out that sometimes blood has nothing to do with family, and making the best choices can be quite challenging. It’s not a fast-moving film, but it’s one that will stick with you.

Available via Virtual Cinemas on October 2, 2020

watch the trailer

 

Leave a Comment » | Drama | Tagged: , , , , , , , , , | Permalink
Posted by David Ferguson

THE GLORIAS (2020)

October 1, 2020

 Greetings again from the darkness. Who hasn’t dreamt of having a conversation with their younger self in hopes of instilling some wisdom to improve the forthcoming life decisions? Writer-director Julie Taymor (FRIDA, 2002) and co-writer Sarah Ruhl have adapted Gloria Steinem’s autobiography, “My Life on the Road”, and use cross-country bus trips as a vehicle allowing Ms. Steinem to chat with herself at four different stages of life.

The feminist icon and activist is played by four actors: Oscar winner Julianne Moore, Oscar winner Alicia Vikander, Lulu Wilson (“The Haunting of Hill House”), and Ryan Kiera Armstrong as the youngest Gloria. Childhood is called the formative years for a reason, and we do get a taste of how Gloria’s nomadic hustler of a father Leo (Timothy Hutton), and her mother Ruth (Enid Graham) influence the woman she became. Her father (referring to himself as Steinomite) explained that travel is the best education, while her mother struggled with mental instability after being forced to give up her writing career.

Bucking the male-dominated world began in the era portrayed by Ms. Vikander, and it takes up most of the first half of the film. Discrimination and harassment were commonplace as she fought to be taken seriously as a journalist and writer. This portion includes her trip to India, where she was heavily influenced by the philosophy of Mahatma Gandhi. In addition, we see Gloria’s time as a (undercover) Playboy bunny, and the reactions that her corresponding article caused.

Ms. Moore is on screen much of the second half, including the founding of “Ms.” magazine, and her affiliation with other activists like Dorothy Pitman Hughes (Janelle Monae), Flo Kennedy (Lorraine Toussaint), Wilma Mankiller (Kimberly Guerrero, “Seinfeld”), and of course, Bella Abzug (Bette Midler). There’s a moment on the bus when Ms. Moore’s Gloria tells her younger self, Ms. Vikander’s Gloria, “Speaking your mind will get you into trouble.” It sounds like a warning, but in fact, it’s motivation for what’s to come.

Ms. Taymor’s film cuts between periods of Steinem’s life with the multiple Glorias in action. The bus rides are an interesting choice as looking out the windows we (and Gloria) sees the streets of New York, the palette of India, miles of nature, and even her own father on the road in his car. Outside is filled with the colors of life, while inside the bus, the colors are muted, often black and white. We see actual clips of the 1963 March on Washington DC, including Mahalia Jackson, and the 1977 National Women’s Conference. It just feels like something’s missing here – like the movie doesn’t have the heft Ms. Steinem deserves.

Sometimes Ms. Taymor’s approach is a bit too artsy for the story, and there is only a brief mention of Ms. Steinem’s nemesis, Phyllis Schlafly … despite much attention to abortion and women’s rights. Gloria’s passion for issues is clear, and we note her motivation to transform an environment that stifled her mother. The film’s music comes from Oscar winner Eric Goldenthal, and the cinematography from Rodrigo Prieto, frequent collaborator of Martin Scorsese and other elite directors. The timing is spot on for the film given contemporary issues, including the opening on the Supreme Court created by the passing of Ruth Bader Ginsburg. Despite this, the film might just be a bit too nice, or too lightweight given the history, accomplishments and impact of Gloria Steinem (who has a cameo appearance on the bus).

watch the trailer

 
 

Leave a Comment » | Drama, Fantasy | Tagged: , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

A CALL TO SPY (2020)

October 1, 2020

 Greetings again from the darkness. It’s 1941 and the Nazis are dominating France. Winston Churchill creates a secret British Intelligence Organization calls Special Operations Executive (SOE). It’s basically a group of spies in France with the purpose of undermining the Nazis. The group is run by Maurice Buckmaster (played by Linus Roache) and after very limited success, the decision is made to recruit women – the thought being they will be less likely to arouse suspicion and can more freely move about. This is really the story of three women, all outcasts in some form. American agent Virginia Hall (Sarah Megan Thomas) is one of the first female spies to go to France. British Muslim Noor Inayat Khan (Radhika Apte) is a highly skilled Air Force wireless operator (communications), and Vera Atkins (Stana Katic, “Castle”) is a Jewish Romanian immigrant charged with recruiting women to the program. For those who enjoy trivia, Ms. Atkins also served as Ian Fleming’s inspiration for Miss Moneypenny in the James Bond franchise.

Greetings again from the darkness. Virginia Hall should be famous. Oh sure, history buffs know her name, but usually she’s a blip in book or article about WWII. Director Lydia Dean Pilcher was Oscar nominated as Producer for the excellent CUTIE AND THE BOXER (2013), and here she serves up the first film featuring Virginia Hall and her contributions. Sarah Megan Thomas (EQUITY, 2016) wrote the screenplay and stars as Ms. Hall.

Virginia Hall remarkably overcame her wooden leg … an appendage she named “Cuthbert” … and was rejected in her quest to become a US Diplomat. Noor faced down the stigma of being a dedicated pacifist – a difficult hurdle in the middle of a war. Vera Atkins was never able to be fully trusted by her co-workers due to her Jewish background. While we are exposed to the plights of each of these women, there is actually very little interaction between the three, which creates an unusual story structure. The bulk of the time goes to Virginia Hall, and that’s understandable given her history, participation, and accomplishments. We witness how she excels in enlisting and inspiring citizens and volunteers to join the resistance, and creates multiple networks that impacted some many of the Allied troops.

An excruciating water torture scene occurs pre-opening credits, and then over the opening credits, director Pilcher slyly works in each of the key players. The concern over women during this era as Buckmaster is concerned the recruits “won’t last a week”. It would have been interesting if we were privy to a bit more of the training “in sabotage and subversion”, but it’s likely some of that training still occurs today; although the point is made clear that this was trial and error, with an emphasis on error.

The female spies were nicknamed the “Baker Street Irregulars”, and they definitely accomplished their mission of changing the course of the war. Klaus Barbie (the Butcher of Lyon) is shown trying, and failing, to hunt down Virginia Hall, whose life was always in danger once she became known to the Nazis. And it’s that danger that is the movie’s Achilles. The sense of danger should be suffocating and relentless, and instead only pops up periodically here. The stories of these courageous folks must be told, but with that comes the ever-present danger they experienced. This is just a bit too much to overlook.

watch the trailer

 
 

2 Comments | Drama, War | Tagged: , , , , | Permalink
Posted by David Ferguson

PAPER SPIDERS (2020)

September 29, 2020

Boston Film Festival (2020, virtual)

 Greetings again from the darkness. There are many reasons that might force a kid to grow up too fast. But when it’s in conjunction with having to care for a parent, we can consider it ill-fated. Director Inon Shampanier co-wrote the script with his wife, Natalie Shampanier, and they adeptly handle a story that, in lesser hands, could be over-wrought and not believable. Instead, they benefit from two excellent performances and deliver an emotional and poignant tale of mother and daughter and mental illness.

Lili Taylor stars as Dawn, mother to straight-A high school senior Melanie, played by Stefania LaVie Owen (“Messiah”). We first meet them while on a rainy day campus tour. Dawn is direct in expressing her wish that Melanie remain close to home for college, while ambitious Melanie wants to attend her late father’s alma mater, USC, on a full academic scholarship. It’s clear mother and daughter have a close relationship, but something is a bit off about Dawn, and we get our answer soon enough.

As the new neighbors are moving in, the truck backs into a tree that Dawn’s husband planted years earlier. Dawn flips out, setting off a chain of events where she is convinced the new neighbor is spying on her, tormenting her, and endangering her. Of course, there is no proof of any of this, and the further Dawn slips, the more difficult it is for Melanie to carry the burden of school, a social life, and a paranoid-delusional mother.

Michael Cyril Creighton plays the school counselor that Melanie ropes into meeting with her mother. The scene is played to an awkward comedic effect, but also exemplifies how mental illness creates a stressful environment for everyone involved. Dawn’s agitated attorney boss is played by David Rasche, and Melanie also sets up a profile for mom on an internet dating site, with less-than-hoped-for results. During all of this, Melanie begins a relationship with a rich, alcoholic classmate named Daniel (Ian Nelson), who understandably isn’t equipped to deal with the situation either. Peyton List plays Melanie’s bestie Lacy, and Max Casella has a couple of scenes as the Private Investigator Dawn hires to surveil the neighbor. All in all, it’s a cluster of real life twisted up by mental illness.

Lili Taylor is excellent, and makes sure she keeps Dawn’s actions in the believable-yet-sufferable mode. But the film really belongs to Stefanie LaVie Owen. This is a staggeringly good performance from the young actress, and she quietly conveys a strength in the face of shock and frustration, and the unfair burden she must carry. The film is a reminder that we don’t get to pick our family, and the responsibilities can feel overwhelming at times. It’s not a horror film, but rather one filled with personal horrors – and the film’s title will make sense by the end.

 

 

Leave a Comment » | Drama | Tagged: , , , , , , , , | Permalink
Posted by David Ferguson

KAJILLIONAIRE (2020)

September 24, 2020

 Greetings again from the darkness. A single month with new releases from both Charlie Kaufman (I’M THINKING OF ENDING THINGS) and Miranda July, is almost enough to make this movie lover forget for a moment that we are suffering through a global pandemic, raging forest fires, and the most obscene presidential campaign of my lifetime. Ms. July is an absurdly talented writer and filmmaker, and it’s her first feature length film since THE FUTURE (2011). Prior to that, she served up ME AND YOU AND EVERYONE WE KNOW (2005), and has a unique way of displaying her strange life observations. She and Kaufman are masters of quirk, and excel in twisting our minds.

Evan Rachel Wood stars as Old Dolio Dyne, daughter of Robert (Richard Jenkins) and Theresa (an unrecognizable Debra Winger). This is an oddball family of petty crime con artists who live in a run down, unused office next to the Bubbles, Inc. factory. And yes, they make bubbles in the factory … bubbles that seep through the walls into the office where this family sleeps. One of their scams is on the landlord (a surreal character himself) who has to explain to an always-negotiating Robert that “rent is an installment”.

The first part of the film allows us to get to know the family members. We see them pull off stealing mail from a neighboring post office box, and returning stolen goods for the reward. Ms. Wood stays attired in an oversized green track suit jacket, and has lowered her speaking voice by an octave, adding impact to her monotone liners. She’s socially awkward, and likely on the spectrum as she seems to be the smartest of the bunch. Daddy Robert is a control freak and has an emotional disability in regards to California earthquake tremors. He and Theresa show no signs of affection towards each other or Old Dolio.

An airline baggage scam results in the family meeting Melanie (Gina Rodriguez), an eager to join the grifters woman, whom Old Dolio sees as her replacement as both a daughter and partner. Jealousy ensues. Melanie is contrasted to Old Dolio by her bubbly personality, and by a wardrobe that is significantly more revealing than a tattered track suit. Old Dolio watches uneasily as Melanie is soon receiving the attention from Robert and Theresa that their own daughter craves.

The second half evolves into a film not so much about cons or heists (the film admits it’s no OCEANS 11), as about family dynamics. The twists and turns find Melanie helping Old Dolio break free of parental over-control in order to experience independence … and pancakes. Learning about warmth and affection from “normal” families is eye-opening for her, and sometimes a little confusing for us to follow.  Who is scamming whom, and when are they telling the truth?

Miranda July has created a crime-drama-comedy (dark comedy), with plenty of space to let the characters and dialogue breathe. “I’m Mr. Lonely” by Bobby Vinton kicks in periodically, and the score from Emile Mosseri (THE LAST BLACK MAN IN SAN FRANCISCO) complements it well. On the heels of last year’s team of family scamsters in PARASITE, this shaggy group has never met a swindle they wouldn’t try. And they never expected it to backfire with their own daughter. The divide between those who like the film and those who don’t was pretty clear after Sundance, and Miranda July will likely never be one to appeal to the masses. But for those of us who connect with her oddball way of seeing life, we appreciate the focus on what makes a family of outsiders click … especially when a superb performance from Evan Rachel Wood drives the film.

watch the trailer:

Leave a Comment » | Comedy, Drama | Tagged: , , , , , , | Permalink
Posted by David Ferguson

ALL ROADS LEAD TO PEARLA (2020)

September 24, 2020

 Greetings again from the darkness. Rural, small town America forms an appealing backdrop for filmmakers due to the great divide: those who are desperate to “shake the dust off” and head for greener grass, and those who can’t imagine any other way of life. In his first feature length film, writer-director-editor-producer Van Ditthavong seizes on the small town atmosphere to create a sense of danger that complements the above-mentioned divide.

Alex MacNicoll stars as Brandon, a high school wrestler in non-stop training mode – replete with nose bleeds, early morning runs, and the quest to cut weight. Brandon lives in a trailer with his mother (Morgana Shaw) who has never gotten over the death of Brandon’s beloved brother. She’s an aggressive griever and takes out her anger on Brandon, leaving him squarely in the “can’t wait to get out of this town” mode. Brandon and Ellie (Paige McGarvin), the local grocery checker, are attracted to each other, yet, despite her warning, Brandon falls for the wicked charms of the mysterious bad girl Pearla (Addison Timlin, FALLEN). Naïve Brandon knows nothing of the town’s criminal underbelly, but Pearla is connected to the psychotic Oz (Dash Mihok, “Ray Donovan”), who is part of it.

Mihok seems to revel in playing the deranged Oz. He expertly balances his scenes as a vicious mask-wearing, gun-toting thug with his small town country-bumpkin mentality … one who spells bidet, “b-a-d-a-y”. Somehow in a town this small, almost no one is who they appear to be. This certainly includes Coach Baker (played by Nick Chinlund, who you’ll likely recall from CON AIR), the motivating wrestling coach with a dark side. Also in the ‘bad guy’ mix are Cowboy Loy (Corin Nemac) who is after revenge on Pearla, and shop owner Mamo (Tina Parker), who seems to control the local crime element, or at least tries to – “Nobody steals from me”.

Brandon’s English class covers a pertinent passage from Orwell’s “1984”, and his big dream involves saving enough money to drive his truck to El Paso for a job on an oil rig. There is some similarity in tone to the Coen Brothers’ classic BLOOD SIMPLE (1984), but of course, Mr. Ditthavong is not yet at that level as a filmmaker. However, for a low budget film that sometimes mixes up day and night, it benefits from nice performances and an atmosphere of dread. The entertainment value is such that I look forward to more projects from the cast and Van Ditthavong.

watch the trailer:

Leave a Comment » | Drama, Thriller | Tagged: , , , , , , , , | Permalink
Posted by David Ferguson

BLACKBIRD (2020)

September 17, 2020

 Greetings again from the darkness. Even though death is imminent for each of us, we don’t all get the opportunity to say goodbye to loved ones. For those who do, it may not go as smoothly as they’d imagined. This is especially true if they are choosing to end things on their own terms due to a terminal illness. Roger Michell (NOTTING HILL, 1999; VENUS, 2006) directs this remake of the 2014 Danish film SILENT HEART (directed by Bille August), both written by Christian Torpe.

Family matriarch Lily (Oscar winner Susan Sarandon) has a terminal illness, and has arranged for the family to return home for one final get-together. See, Lily, with the assistance of her doting doctor husband Paul (Sam Neill) is planning to ‘go’ on her own terms, while it’s still physically possible for her to take the medicinal potion. “Death with dignity”, or euthanasia, is becoming a more frequent topic in films and conversation, despite still being illegal in most states. Of course, the legal and moral questions are heavily debated, but when it’s a family member, it’s the emotions that heat up.

First to arrive is eldest daughter Jennifer (Oscar winner Kate Winslet) and her husband Michael (Rainn Wilson, “The Office”) and their son Jonathan (Anson Boon, CRAWL). Kate is the uptight, demanding type who is always judging others – including her nerdy well-meaning husband, and her free-spirited son. The younger daughter Anna (Mia Wasikowska) arrives with her partner Chris (Bex Taylor-Klaus, “The Killing”), and it’s immediately clear that Jennifer and Anna are personality opposites (with some baggage), and that Anna is carrying an unspoken burden. Last to arrive is long-time family friend Liz (Lindsay Duncan), who is so close to Lily and Paul, that the family photographs show her on many family vacations and events over the years.

This has the look and feel of a stage presentation, as most of the scenes are filled with dialogue and occur within the confines of the stunning east coast home, apparently designed by Lily. There is a family walk along the beach and dunes, but most of the run time is filled with interpersonal interactions – some pleasant, some not pleasant at all. In fact, an early (by a couple of months) Christmas family dinner is sprinkled with pot smoking and emotional outbursts. It turns out, not surprisingly, that some of the secrets previously kept, find their way out into the open causing a few bumps in Lily’s farewell weekend.

The complexities of family dynamics are amplified in this situation. Who is ready and who isn’t, and why, becomes a topic of multiple discussions. We never really learn the meaning of the film’s title, but we do enjoy the work of so many fine actors. You might recall Susan Sarandon played a dying woman more than 20 years ago in STEPMOM (1998), and this movie blends two memorable and recent films: FRANKIE with Isabelle Huppert, and HERE AWHILE with Anna Camp. Saying goodbye is never easy, but it sure beats missing the chance.

In theaters and On Demand beginning September 18, 2020

watch the trailer:

Leave a Comment » | Drama | Tagged: , , , , , , , , , | Permalink
Posted by David Ferguson

THE NEST (2020)

September 17, 2020

 Greetings again from the darkness. I’m not sure how to officially protest, but this is writer-director Sean Durkin’s first feature film since the excellent and thought-provoking MARCY MARTHA MAY MARLENE in 2011.  Okay, he directed a TV mini-series (“Southcliffe”) in that span, but there really should be some kind of ordinance mandating (or at least pleading with) Mr. Durkin to share his art more frequently. His approach is not conventional, and it challenges the eye and mind. The story doesn’t move at the pace we’ve come to expect, and the characters – though quite believable – don’t always act the way we expect.

Jude Law stars as Rory O’Hara, a business man with big dreams … dreams far bigger than his work ethic. Carrie Coon (“Fargo”, GONE GIRL) co-stars as his wife Allison. This husband and wife couldn’t be more different. Where Rory is the big-talking blow-hard who, Allison is the down-to-earth horse trainer. Oona Roche plays teenage daughter Samantha, and Charlie Shotwell (CAPTAIN FANTASTIC, 2016) is the younger Benjamin. Durkin does a nice job with the family set-up in the first few minutes of the film. We get a sense of each, as well as the family dynamics. There is a great shot of Rory sitting idly at his desk, and soon after he wakes up Allison with a cup of coffee and the announcement that they need to move to London.

The film is set in the 1980’s (the Reagan-Thatcher era), and Rory’s desperation to prove his business acumen is on full display when he meets his old (now new again) boss Arthur (Michael Culkin). Rory is a social climber, intent on keeping up with the Joneses (or whatever they’re called in London), and he’s referred to as “Old British – New American”. He takes it as a compliment, but we soon witness Rory as little more than a fast-talking salesman. A restaurant scene featuring Allison, Rory, and his co-worker Steve (Adeel Akhtar) is brilliantly played, as Rory’s professional life begins to unravel at a pace matching that of his family life.

We see each of the family members cut loose in their own way, in an attempt to deal with the strain. Timid Benjamin lashes out at school. Samantha throws a wild bash at the family home. Allison guzzles gin and lets go on the dance floor. Speaking of the family home – it’s an old mansion that is the loudest symbol of Rory’s stretch to impress. The film seems to tease us a couple of time in regards to possible paranormal activity within the home, but that’s simply Durkin’s misdirection. The only thing rotten or haunted is the make-up of the family. Their domestic dysfunction is horror in its own right.

Rory’s delusions of grandeur and worshipping of money are finally thrown back in his face during a tremendous scene of Taxicab philosophy. When asked what he does for a living, Rory answers, “I pretend to be rich”, in what may be his only moment of clarity. Jude Law is superb as the charming guy we don’t really like, and Carrie Coon goes toe-to-toe as his polar opposite, and she’s exceptional. Mr. Durkin and cinematographer Matyas Erdely (SON OF SAUL, 2015) keep us off balance with the fascinating shots within the mansion, and startling close-ups that make a point. There is certainly no abundance of light, but this isn’t the type of family that the spotlight tends to find. It’s likely to be a divisive film not embraced by mainstream audiences, but adored by those who crave projects that are creative and different. It played Sundance prior to the pandemic, and now we have to hope we aren’t forced to wait another 9 years for the next Sean Durkin film. Although I will I have to.

In theaters and VOD September 18, 2020

watch the trailer:

Leave a Comment » | Drama, Thriller | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

« Previous Entries
Next Entries »