END OF SENTENCE (2020)

May 28, 2020

 Greetings again from the darkness. The pandemic has put most blockbusters and mainstream releases on hold, allowing the projects of many first time filmmakers to jump to the front of the line for exposure to critics and streaming platforms. Director Elfar Adalstein’s first feature film stems from a screenplay by Michael Armbruster (BEAUTIFUL BOY, 2010) and covers familiar ground in an unfamiliar manner, enhanced by gorgeous scenery and a couple of terrific performances.

Frank Fogel (John Hawkes, WINTER’S BONE, 2010) and his wife Anna (Andrea Irvine) are visiting their son Sean (Logan Lerman, THE PERKS OF BEING A WALLFLOWER, 2012) in an Alabama prison. Sean is serving time for stealing a car, and his mother is there to tell him goodbye. Frank and Sean are estranged, so there is no father-son visit. After the funeral, Frank shows up on Sean’s day of release to convey the mother’s death bed wish … father and son are to travel together and spread her ashes on her favorite lake in Ireland. Sean has no interest in traveling with dad and only wishes to get to California for a fresh start.

Of course there would be no movie if the two men didn’t eventually take the trip together, and we notice immediately that Frank, though a man of conviction, doesn’t appear to have a strong backbone. Sean, acting the jerk, clearly holds a grudge against the father he views as not protecting him from an abusive grandfather during childhood. These are deep wounds that may go deeper if there is to be a chance for healing. A wake in mom’s Ireland hometown reveals secrets of her past, and results in the men taking in Jewel (Sarah Bolger, one of the young daughters in Jim Sheridan’s excellent IN AMERICA, 2002) as a hitchhiker. Jewel has her own secrets and agenda, and seems to both further divide father and son, while also helping pull them together. This segment is very well written and acted.

The father-son road trip is really nothing new, though the setting of Ireland, with its stunning countryside captured by cinematographer Karl Oskarsson make it a visual treat. But more than that, the basic story is elevated thanks to the work of Mr. Hawkes (a previous Oscar nominee) and Mr. Lerman. The two excellent actors make the strained relationship seem real, rather than hokey or manipulative. We sense Frank’s pain in discovery, and Sean’s pent-up frustration that softens when he learns more of the history. On the downside, three musical/song interludes is two too many, but fortunately the performances overcome these storytelling shortcuts. Self-discovery, the acceptance of others, and the importance of family ties are all at play here, in addition to some quirky life philosophy: “Sometimes you’re the pigeon. Sometimes you’re the statue. That’s life.”

Available VOD on May 29, 2020

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Posted by David Ferguson

THE TRIP TO GREECE (2020)

May 21, 2020

 Greetings again from the darkness. Now is either the absolute best time to release this movie, or it’s the worst. During a pandemic with directives to stay home, you would be excused for classifying a cinematic travel trip by funny buddies as either a harsh prank or a welcome fantasy. Director Michael Winterbottom is back for his fourth film in the franchise featuring wise-cracking pals Steve Coogan and Rob Brydon. The first three were: THE TRIP (2010), THE TRIP TO ITALY (2014), and THE TRIP TO SPAIN (2017), and each were edited into feature films from their respective BBC Television series.

The players remain the same, as does the formula. Only the location provides a change-up. Beginning in Turkey near the historical site of Troy, complete with the photo op at the Trojan Horse monument, Coogan and Brydon are on a 6 day assignment to cover (mostly) the 10 year journey of Odysseus in Homer’s “The Odyssey.” The symmetry is noted in the film as this marks the tenth year since they first began traveling together.

The men make their way to Stagira (now Macedonia), the birthplace of Aristotle, as well as Hydra, Athens, Delphi, and Ithaca. Of course, at each destination, the boys stop for a ridiculously upscale gourmet meal at a world class restaurant that features a breathtaking view. It’s during these savory meals, and in the car during the trip, and well, just about any other time, Coogan and Brydon continue their never-ending game of one-upsmanship. Impersonations, punchlines, and spirited verbal sparring are all done with the hope of making the other person laugh, or admit defeat. While the Michael Caine impersonation never makes an appearance, we do get dueling Mick Jaggers and Dustin Hoffmans, as well as moments for Werner Herzog, Ray Winstone, and Barry Gibb/Bee Gees (with “Grease” and “Staying Alive”).

Stunning scenery and historic locations provide ammo for some of the banter between the two comics, including whether Alexander the Great was an original gangster. However, there is also an underlying message here. The two argue over who should wear the respective masks of comedy and tragedy while they are on the hallowed grounds of an ancient Greek Theatre, and Coogan makes the point that “Originality is overrated. Everything is derivative.” This commentary applies not just to their own “Trip” franchise, but also to many other elements of society.

Perhaps there are a few too many aerial shots of their Range Rover traveling down a road, but the back country is so beautiful, we can’t complain. The same goes for those restaurants. Sure it’s torture to watch as they enjoy delicious food, but the scenery is unique to their locale. As we wonder when, or even if, we will ever be able to travel the globe again, perhaps the best lesson here is to value our time with friends and loved ones. A personal crisis is used for this series finale, though it also leaves us with the proclamation that that these trips have been “Mostly fun and games.” So, “already enjoy.”

Available on Digital Platforms and VOD May 22, 2020

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Posted by David Ferguson

TORPEDO: U-235 (2020)

May 18, 2020

 Greetings again from the darkness. “Desperate times, desperate measures” is a phrase that dates back to ancient Greek physician Hippocrates (he of the Hippocratic Oath), and has been applied in many and varied situations since … war strategy being one of the most common. We hear the phrase a couple of times in the War Room during an early scene in the feature film directorial debut of writer-director Sven Huybrechts submarine movie. The term “submarine movie” is used with the utmost respect, as I’m a huge fan of the sub-genre.

Opening with a well-orchestrated attack on Nazi soldiers, we are soon in the midst of a group of resistance fighters – a rag tag bunch committed to wiping out as many Nazis as possible. In the War Room scene, this group is referred to as “The Bad Eggs”, and everyone from all sides seems to want them stopped. However, there is a problem – this group is made up of the only ones crazy enough to accept the current ‘suicide’ mission: delivering a Uranium filled submarine from the Belgian Congo to the United States, where the cargo will be used for the Manhattan Project.

The cast is excellent, led by the ongoing conflict between two outstanding and renowned leads: Belgian actor Koen De Bouw as Nazi-hater Stan, and German actor Thure Riefenstein as captured U-Boat Captain Franz Jager. Co-writers Huybrechts and Johan Horemans effectively use the dangers and claustrophobia of the submarine, and are truly expert in their pitting Stan against Jager. Stan’s beautiful (and sharpshooter) daughter Nadine (Ella-June Henrard) is also on the mission, but it’s Stan’s tragic backstory (which we see in tension-filled flashbacks) that have filled him with a lust for revenge and over-protectiveness.

Training for submarine crews typically lasts a year, and this group of misfits has only three weeks to prepare. Some of the early soundtrack reminds of the iconic Elmer Bernstein theme to THE MAGNIFICENT SEVEN, which comes across a bit misplaced, but that’s a minor quibble for a film that gets most everything else right – except for a too-good-to-be-true sequence near the end. Along the way, we see vivid images of the brutality and cruelty of Nazis, which helps us understand why all of these folks are so committed to the mission.

Working with a low budget, the film still manages to deliver the danger and tense situations we expect from a submarine during WWII. There is even a sub vs sub battle for some underwater action. The lineup of other worthy submarine movies over the years include: Jules Verne’s 20,000 LEAGUES UNDER THE SEA (1954), THE ENEMY BELOW (1957) with Robert Mitchum, RUN SILENT, RUN DEEP (1958) with Clark Gable and Burt Lancaster, ICE STATION ZEBRA (1968)  based on the Alistair MacLean novel, the nerve-rattling DAS BOOT (1981) from Werner Herzog, THE ABYSS (1989) from James Cameron, THE HUNT FOR RED OCTOBER (1990) from Tom Clancy’s novel starring Sean Connery, CRIMSON TIDE (1995) pitting Denzel Washington against Gene Hackman, U-571 (2000) with the great Thomas Kretschmann, and BLACK SEA (2014) with Jude Law. And let’s not forget the 1968 classic featuring The Beatles animated, YELLOW SUBMARIINE.

This latest begins in 1941 and the final scene takes place on August 6, 1945. Huybrechts’s film could be described as a cross between INGLORIOUS BASTERDS and DAS BOOT, and it includes plenty of material for conversation on race, religion, nationality, and duty.

Available VOD beginning May 19, 2020

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Posted by David Ferguson

AMERICAN TRIAL: THE ERIC GARNER STORY (2020)

May 18, 2020

 Greetings again from the darkness. We open on a blank screen, but immediately recognize the audio. “I did nothing.” Producer-Director Roee Messinger slowly brings up the all-too-familiar video of Eric Garner being wrestled to the ground by multiple police officers. Mr. Garner is heard to say “I can’t breathe” eleven times during the cell phone video. Those were to be his last words.

His death was ruled a homicide, but a Grand Jury refused to indict NYPD Officer Daniel Pantaleo. Filmmaker Messinger presents a “What if?” there had been a trial. This is Messinger’s first feature film, and it’s non-scripted … a mock trial featuring former NY state prosecutors, practicing attorneys, actual witnesses, field experts, Garner’s wife, and actor Anthony Altieri playing the role of Officer Pantaleo. We see Mr. Pantaleo in consult with his attorneys, but the vast majority of the film is spent in the courtroom as we watch the proceedings, and hear testimony.

For those of us whose time in a courtroom is limited to mandatory appearances for jury duty, it’s very interesting to see how a trial is conducted; though we should keep in mind that the pace is a bit faster in an edited movie version than what would occur in real life. Still, listening to the experts – a Medical Examiner and Pathologist offering conflicting opinions on the evidence drives home the point of what a challenging job jurors would have had with the case. And then there is Mr. Garner’s friend who testifies that he witnessed the whole thing while standing just a few feet away. His reason for not getting involved was fear of being arrested himself. Of course, the most emotional testimony comes from Esaw Snipes Garner, Eric’s wife of 26 years. She’s defensive and impassioned while on the stand, and her frustration and distrust of the system is palpable.

In the film, Officer Pantaleo is charged with Manslaughter and Strangulation. When he takes the stand, we learn some of his background and police training. We hear the definition of a chokehold versus “necessary” force in bringing a suspect under control. Mr. Garner was a large man – approximately 395 pounds. He made it very clear to the officers on the scene that he was not going to cooperate with being arrested. Was it a chokehold? Was it necessary force? Was Garner really unable to breathe? All of these questions are addressed, as was the reason police approached him in the first place – suspicion of illegally selling cigarettes (“loosies”) on the streets of Staten Island.

Just like cameras and recording devices, we aren’t allowed to witness the jury deliberations. In fact, the purpose is to have viewers act as jurors in the case – listen to the evidence and testimony and arguments, and then make your own decision. Famed Harvard Law Professor Alan Dershowitz serves up his thoughts, and we learn of Mr. Garner’s many underlying health issues (asthma, high blood pressure, sleep apnea) while making up our own mind on what happened that day, and what Garner’s death should have led to.

Opens in Virtual Cinemas May 18, 2020

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Posted by David Ferguson

SEBERG (2020)

May 15, 2020

 Greetings again from the darkness. “Who is Jean Seberg?” A reporter asks the question to her, just before the movie star’s agent escorts him away as she prepares for publicity shots on PAINT YOUR WAGON, the outlandish 1969 musical-comedy in which she co-starred with Clint Eastwood and Lee Marvin. It’s also a question we expect a film entitled SEBERG to answer, though it never really does. Oh sure, we get the basics: small town girl (Marshalltown, Iowa), Hollywood starlet, activist, target of FBI, and tragic ending. Unwisely, the film tries to cram in too many other pieces of a puzzle – a puzzle plenty interesting on its own.

Kristen Stewart stars as Jean Seberg, the breakout star of the French New Wave Cinema in Jean-Luc Godard’s BREATHLESS (1960). Ms. Stewart brings much more than a short haircut to the role. It’s not a stretch to imagine Ms. Stewart has experienced some of the downside to fame that Ms. Seberg experienced during her career, so it’s no surprise that the moments of torment and frustration and anxiety are the film’s best. Even as a teenager in Iowa, Ms. Seberg showed signs of an activist-in-development. She ran off to Hollywood and was discovered by director Otto Preminger and cast in the lead role for his SAINT JOAN (1957). Seberg actually suffered severe burns during the filming of a key scene – one which is reenacted by Stewart for this film.

Director Benedict Andrews working with a script from Joe Shrapnel (grandson of actress Deborah Kerr) and Anna Waterhouse (they also co-wrote THE AFTERMATH and RACE), focuses mostly on the period of 1968-1971. We see Seberg’s first encounter with Hakim Abdullah Jamal (Anthony Mackie) on a commercial flight, and her follow-up pose with the Black Panthers for a publicity shot on the tarmac. This kicks off an FBI investigation, as well as an affair between Seberg (married to novelist and filmmaker Romain Gary, played by Yvan Attal) and Jamal (married to Dorothy, played by Zazie Beetz). We see how Seberg landed on Hoover’s FBI watch list, and how she was sincerely trying to help what she saw as a worthy cause.

We watch the FBI meticulously build a file on Seberg, albeit illegally under the COINTELPRO (counter-intelligence program) program. Surveillance was used to work towards their goal of running a smear campaign against Seberg due to her support of the Black Panther Party. Jack O’Connell plays FBI Agent Jack Solomon, and Vince Vaughan plays his partner Carl Kowalski. Family dinner time at the Kowalski home is anything but leisurely fun, and it’s an unnecessary scene meant to contrast Kowalski’s character with that of Solomon. It’s here where the film falters. An inordinate amount of time is spent on Agent Solomon and his conscience and his med-student wife Linette (a sinfully underutilized Margaret Qualley).

The film would have been best served by focusing on either Seberg or Solomon. The two stories dilute the effectiveness, and beyond that, the Black Panther story line fades, as does the whole celebrity-as-an-activist subplot. Instead, Seberg’s breakdown and Solomon’s second thoughts share center-stage. The film does succeed in exposing the extremes Hoover’s organization would go to in order to discredit someone whose beliefs might not have meshed with what was deemed proper for the times. What happened to Seberg was a tragedy, and according to Mr. Gary, led to the loss of her career and eventually to her death.

The film bounces from Paris to Los Angeles, and the set decorations and costumes are picture perfect for the era. There are actual Black Panther clips shown, and Ms. Stewart also reenacts a scene from BREATHLESS. Regardless of the script and story issues, Kristen Stewart delivers a terrific performance as Jean Seberg, and keeps our attention the entire time. We like her and feel for her as she slips. The real Ms. Seberg was found dead in a car at age 40, and suicide was suspected, though mystery still surrounds her death to this day. Lastly, just a piece of free advice … if you are looking to do good things in life, having a marital affair is rarely the right first step.

Available on Amazon Prime beginning May 15, 2020

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Posted by David Ferguson

CAPONE (2020)

May 11, 2020

 Greetings again from the darkness. I was really hoping for a Josh Trank resurgence. When his FANTASTIC FOUR became one of the worst reviewed movies of 2015, he lost out on a chance to direct a Star Wars film. Given creative control as writer-director-editor, CAPONE was supposed to be his chance bounce back and re-capture the intrigue and promise of his first film, CHRONICLE (2011). And he even chose the fascinating notorious gangster Al Capone as the subject for his comeback. What could go wrong? Well … most everything.

Tom Hardy usually adds enough interest to make any of his projects entertaining to watch, and sometimes he’s downright brilliant. Going back to BRONSON (2008), and on through TINKER TAILOR SOLDIER SPY (2011), WARRIOR (2011), THE DARK KNIGHT RISES (2012), MAD MAX: FURY ROAD (2015), THE REVENANT (2015), and TV’s “Peaky Blinders”, Mr. Hardy has quite a resume of memorable characters – and the above list barely covers half. This time out he plays Al Capone … “Fonse” … don’t dare call him Al “in this house.” He has recently been released from Alcatraz where he was serving his sentence for tax evasion. Confined to his Florida mansion, Capone is only 47 years old, but looks twenty years older thanks to the effects of neurosyphillis-induced dementia. His mind is never clear and his visions take him back to his violent criminal past, or snapshots of his youth (with an ever-present gold balloon).

We can’t really tell if filmmaker Trank meant this as a parody or not. Capone is seen as a mumbling near-zombie, almost always wearing a bathrobe. His eyes are bloodshot, and the once menacing gangster is now a paranoid, saggy diaper-wearing shell who noisily chomps on a cigar (or carrot), fires off his gold-plated Tommy Gun, and has constant issues with vomit-bladder-bowels. Typically a parody offers either slapstick or black comedy, but I only recall a single chuckle … one that occurs when Capone pulls out a shotgun while on a fishing boat with his old mob buddy Johnny (Matt Dillon). Other than that, it’s mostly a bleak look at dementia and the lost power of a man who follows his visions into closets and basements, and jumps up during a movie to sing-a-long with the Cowardly Lion’s “If I Were the King of the Forest.”

The supporting players are given little to work with. The great Linda Cardellini plays Mae, Capone’s supportive wife, while Kyle MacLachlan is his crooked doctor, Noel Fisher is Al junior, Al Sapienza is Capone’s brother Ralphie, and Kathrine Narducci is Ralphie’s wife. There is a secondary plot point involving government surveillance as they attempt to discover the whereabouts of the $10 million Capone supposedly stashed years ago. Of course, Capone doesn’t remember, and when and FBI agent (Jack Lowden, with director Trank in a cameo) interrogates him, he’s unsure whether Capone is acting or actually that far gone. There is also a bit about phone calls from “Tony”, possibly a long-lost Capone son borne from an affair.

The film covers Capone’s final year, and mostly it comes across as a sad and depressing view of dementia. The most obvious statement on Capone’s loss of power, comes in the form of a metaphor, as his beloved “Lady Atlas” garden statue is removed to be sold off. There is also a recurring moment where Capone tunes the radio to a broadcast of the Saint Valentines’ Day Massacre, and family time at Thanksgiving is nothing short of painful to watch. Cinematographer Peter Deming (MULHOLLAND DRIVE, 2001) gives us a well shot film, but despite a couple of David Lynch-type moments, the film mostly lacks entertainment value. I can’t figure out who might want to watch this. Trank seemed to go the deeply artistic route on a subject that’s tough to watch. Maybe he’ll get yet another shot.

Available on VOD beginning May 12, 2020

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Posted by David Ferguson

FINDING EDEN (2020)

May 11, 2020

 Greetings again from the darkness. Director Rodney Luis Aquino opens his first feature film on a happy and loving family consisting of father/husband, mother/wife, and son. They are a normal family who eat dinner together while discussing spitballs. The wife questions the husband’s “vacation beard” … a beard that has, by the looks of it, been growing for 3-4 months, leaving us to wonder what kind of benefits his employer offers. Their paradise is rocked one evening when the National Emergency Warning goes off. We learn from the news reports that the Earth has gone off its axis, leading to weather catastrophes around the planet.

We then flash forward as narrator Lisa (the wife) informs us “The Turn” occurred three winters ago, and sometimes she wonders if this is all a dream. It’s not a post-apocalyptic world, but it might as well be. She tells us there are rumors of cannibalism; however, in this family they hunt for food and scrounge for water. Adam takes his bow and three arrows in hopes of nabbing dinner. But Adam (Jason Sutton) is no superhero. He leaves his beloved Lisa (Jennifer Faith Ward) and son Sam (Michael Campion) at the campsite. When he returns empty handed, he discovers his family has been taken. His mission is no longer wild rabbit for dinner, but rather rescuing his loved ones.

On his journey, Adam crosses paths with Fred (Joseph Gatt, whom you’ll recognize from many roles), who tells him about “Eden”, a community of good folks who are forming a new society. It’s here where we learn that the bloody handprint signs Adam has seen along the way belong to Donner, a vicious guy who was kicked out of Eden. Of course, we understand that Adam and Donner are headed for a showdown if the family has any hope of survival. Veteran character actor Tom Proctor plays Donner, and he brings all he can to a role that embodies evil … Donner is a deliciously nasty fellow.

With an ultra-low budget project, some slack must be given for production value. Kraig Swisher takes on the rare combination of screenwriter and cinematographer, and at times the dialogue could have used a jolt, while the visuals never seem to take full advantage of the Florida and Georgia filming locations. The sound mixing is entirely too noticeable at times (those footsteps), and Mr. Sutton doesn’t really have the chops yet for leading man. Mr. Gatt and Mr. Proctor certainly elevate the film during their sequences, and the soundtrack is mostly in sync with what we see on screen. Overall, there are some fine moments, though we would have preferred the scenes of peril and danger to go much deeper, along with some more incisive commentary on the likelihood that most humans would take shortcuts when things go badly (like what is currently happening).

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Posted by David Ferguson

HOW TO BUILD A GIRL (2020)

May 7, 2020

 Greetings again from the darkness. British writer Caitlin Moran has adapted her own 2014 semi-autobiographical novel-memoir for the screen, because who better to write about the coming-of-age of a talented outcast than that talented outcast herself? Given the profusion of coming-of-age movies that hit the screen every year, it’s a welcome change when one takes a different approach. And this one does just that.

Beanie Feldstein (BOOKSMART, and Jonah Hill’s sister) stars as Johanna Morrigan, replete with British accent. Johanna is a dreamer, and as she sits in her usual spot at the library, she fantasizes about Mr. Darcy riding in to save her from this mundane life. We quickly learn that Johanna is bright, and treated as quite the misfit at school. Even her English teacher asks her to scale back her writing assignments. See, in addition to being a world class dreamer, Johanna is a very talented writer … and she sees that as her only means to escape Wolverhampton.

At home, Johanna has a “Wall of Gods” featuring photographs of her literary and historical heroes, including: Sylvia Plath (Lucy Punch), Elizabeth Taylor (Lily Allen), Bronte sisters, Sig Freud (Michael Sheen), and Maria von Trapp (Gemma Arterton). Johanna speaks to these photos, and they answer her. Johanna’s family hustles to stay just above poverty. Her dad’s (Paddy Considine) dream of rock stardom has passed, and now he breeds black market Border Collies while remaining optimistic about life. Her mother (Sarah Solemani) suffers from post-partem depression after giving birth to twins (kids number 3 and 4).

Johanna shares a small bedroom space (divided by “the Berlin wall”) with her cool brother Krissi (Laurie Kynaston). We know he’s cool, because he hangs out in the cool room at school – a room to which Johanna has never been invited. After embarrassing herself on a televised poetry reading show (hosted by Chris O’Dowd), Johanna is encouraged by brother Krissi to apply for a music critic job at a local publication. Her heartfelt submission on “Annie” the musical causes guffawing among the ultra-cool writing staff at the magazine; yet her writing skill and persistence land her a shot. It’s at this point that things change for Johanna.

An unusual interview with popular and earnest singer John Kite (Alfie Allen, brother of singer Lily Allen and son of actor Keith Allen) results in a connection and teenage crush, leading to a sappy article rejected by her employer. Given a second chance by the magazine, Johanna’s alter-ego Dolly Wilde does in fact turn wild. Her ‘bad girl’ image and mean spirited critiques of bands gain her a cult following – a type of notoriety. The pen may be mightier than the sword, but when the pen is used as a sword, the damage is severe. What follows, of course, are the inevitable hard (and painful) life lessons.

Director Coky Giedroyc has spent most of her career on TV shows, but she has a feel for this material. However, it’s mostly the no-holds-barred performance of Beanie Feldstein that makes this work – both the comedy and drama. We’ve seen the outsider with talent many times before, and because of that, expectations are a bit low going in. This time, a different twist and passionate filmmakers and actors turn this into quite an entertaining 100 minutes.

IFC Films will release the film on VOD on Friday, May 8, 2020

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Posted by David Ferguson

CLEMENTINE (2020)

May 7, 2020

 Greetings again from the darkness. A lovely opening sequence shows Karen in bed, the morning sun barely able to match the light of love emanating from inside her. We never see Karen’s lover’s face, but we hear D’s voice as the two ladies share the beginning of a day. Our next scene has Karen unable to enter the house the two shared. Ramsey the dog barks at her through the glass pane of the door that Karen’s key no longer opens. Frustrated, she hops back in her car.

We soon learn that Karen’s idea of revenge (or coping) after being dumped is to break into D’s Oregon lake house, take down a painting from over the bed, smoke some pot, drink some wine, and replay D’s voice messages. Her plan doesn’t seem to go much deeper, but it’s not long before she has met Lana, a local girl who claims to be 19 years old – though we all know she’s younger. Lana is a bit odd, though clearly attracted to Karen, herself intrigued by the unusual girl. This strange little cat and mouse game is then crashed by Beau, the handyman for D’s lake house.

The first feature from writer-director Lara Gallagher excels at keeping us off-balance, despite moving at a pace that allows the viewer plenty of time for thought and observation. Complementing the uneasiness is the score from Katy Jarzebowski, with its harsh single piano note, sometimes accompanied by violin … the sound of a horror film, though this is no Hollywood cabin in the woods. Three times we are shown the handgun in the drawer, and though it plays a significant part, it’s not in the way that our movie mind has been trained.

Otmara Marrero plays Karen, and rising star Sydney Sweeney is Lana. The two joust very well, though it’s Lana who fascinates. She’s curious of love and life, while not quite being ready. Lana is a manipulator thanks to an innocence that draws Karen in. Will Brittain (BLOW THE MAN DOWN) plays Beau in a manner of which we are never really certain – friend or foe? Finally, Sonya Walger is D. She doesn’t show up until late in the film, but she is precisely what we have envisioned.

There is an odd cadence to the film, and the performances assist with confounding us. It’s a coming of age story for two females of different ages, and we can’t help but notice that Karen has been involved in two relationships featuring the older woman/younger woman dynamic. Of course, her role reversal in the two relationships is at the core of the film. Indie band Lightning Dust contributes an outstanding song with “Antonia Jane”, and we are left thinking this is a psychological thriller without the thrills. Filmmaker Lara Gallagher has delivered a personal project reminding us that toxic relationships aren’t limited to man-woman.

Opening in Virtual Cinemas everywhere May 8, 2020

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Posted by David Ferguson

SOUTH MOUNTAIN (2020)

May 4, 2020

 Greetings again from the darkness. The grill is fired up and the beer is cold. Friends and family are gathered in the Catskills. Everything seems pretty normal until writer Edgar (Scott Cohen) sneaks off to take a “work” call in the privacy of a back room. We see the reality of his FaceTime call with his mistress Gemma (Isis Massoud), who is in full baby delivery mode. Edgar talks her through it as the midwife does her thing. The delivery and baby are so realistic that I’m fairly certain writer-director Hilary Brougher has included actual footage.

Talia Balsam stars as Edgar’s wife Lila, an artist and teacher. There is a sadness connected to Lila, and it hovers like a curse. Her initial reaction to being told that Edgar is leaving her for a new life is little more than resignation to her own life where she seems to regularly get the short end. Edgar and Lila have a teenage daughter Dara (Naian Gonzalez Norvind), and daughter Sam (Macaulee Cassady) from Edgar’s first marriage. We learn that Talia has previously endured Edgar’s wanderings, though not always gracefully. She also wonders why people are constantly leaving her – a fact of life as kids grow older.

Filmmaker Brougher counts off the days in the corner of the screen for us, and it’s helpful as time jumps a bit … although most days seem eerily similar even after Edgar leaves (he’s still around a lot). This plays out like a passive-aggressive break-up, save for one unpredictable lash-out from Lila – one that is likely a frequent fantasy of wronged spouses. Lila’s close friend Gigi (Andrus Nichols) has breast cancer and is undergoing chemotherapy, and her son Jake (Guthrie Mass) and daughter Charlotte (Violet Rea) add to the teenage angst we see from Dara and Sam. Sam’s friend Jonah (Michael Oberholtzer) has a key role as well – one that starts with sharing a sauna with Lila, and ends where you would imagine.

There is no shortage of movies or real life stories of middle-aged men starting over and “women of a certain age” are left to figure things out. Ties of a long-term marriage run deep and aren’t easily or cleanly severed; and kids, regardless of age, don’t always understand how to be supportive. Cinematographer Ethan Mass (husband to Ms. Brougher) does a terrific job with the visual landscape, as the claustrophobia of the house gives way to the stunning beauty of nature. The acting is superb throughout, and Ms. Balsam (daughter of Martin Balsam and Joyce Van Patten) excels in a rare leading role. If only the material were a bit more complex, she could be in awards consideration. Unfortunately, the restrained storytelling prevents us from connecting to Lila, despite the best efforts of Ms. Balsam. It’s clear Hilary Brougher is a filmmaker with talent, but the message that life goes on, no matter the inconveniences or heartbreaks, is just a bit too familiar and low key.

available VOD May 5, 2020

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Posted by David Ferguson

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