Greetings again from the darkness. A film focusing on an unlikely intersecting of cross-generational dead-end lives in a mostly ignored poverty-stricken area on the outskirts of Houston may not seem like much of a pick-me-up during these challenging times. And while it’s not a crowd-pleaser, it is pleasing in a high quality independent filmmaking kind of way – especially to those of us who thrive on such projects. Writer-director Annie Silverstein’s first feature film was co-written with Johnny McAllister and Josh Melrod, and it never tries to impress with any cleverness or trickery, and instead allows us to wallow in the harshness of a world that has its inhabitants grasping for hope.
We first see 14 year old Krystal (Kris) and her little sister messing with a chicken that’s been killed by their pet pit bull in their backyard. The chicken belongs to their African American neighbor Abe, who threatens to shoot the dog if it comes in his yard again. Kris spends an inordinate amount of time taking care of her little sister. They live with their constantly annoyed grandmother while their mom is incarcerated. Jailhouse visits begin with hugs, and end with frustration. Kris seizes on an opportunity while neighbor Abe is gone for a weekend rodeo. She invites her friends over and they raid Abe’s liquor and pain pills, and trash his house. The kids all have fun, but Abe is understandably upset when he returns home.
In a show of mercy towards Kris’ grandmother, Abe agrees to allow Kris to clean up the party mess rather than be arrested and shipped to juvenile detention. Slowly, very slowly, Abe and Kris begin to bond. She is fascinated by middle-aged Abe’s history. He was once a bull rider, and now he’s a bull fighter – one of the guys in the arena who distracts the bulls so the riders can escape safely after their ride. His body and spirit are broken, and he’s constantly in pain and sore. Kris, a sullen teenager, carries her own pain. Her situation is such that we (and Abe) find it difficult, if not meaningless, to judge her. She desperately wants to be loved and cared for, but finds none of that through her family or “friends.”
Rob Morgan, who was so memorable in MUDBOUND (2017), plays Abe, a man who fights to maintain his dignity in a profession more conducive to younger folks, and with a body that continues to fail a bit more with each gore. He has some type of relationship with his ex, Sheila (Yolanda Ross), but mostly he’s alone and quiet until he’s around his fellow rodeo performers. Newcomer Amber Havard plays Kris, and captures the confusion and hurt with subtle facial movements of an actress far more experienced. The moment her mother (Peggy Schott) lets her down yet again is gut-wrenching, and we feel Kris’ pain every bit as much as we feel Abe’s pain at the tip of a bull horn.
Ms. Silverstein’s film is surely to draw comparisons to the excellent THE RIDER (2017), with its understated approach, and power in the quietness and stillness. It touches on African American rodeos, and provides a contrast with ‘white’ rodeos, while also showing us the sex and drug issues facing young Kris. With its multi-generational view of life, we see a girl desperate for a role model, and a man coming to terms with loneliness. Kris and Abe prove quite the odd couple as she finds a glimmer of hope in her desire to become a bull rider, and Abe finds a companion and reason to carry on. The two fine performances help us deal with the often bleak daily lives of Kris and Abe, and Ms. Silverstein directs her film in such a visceral way that, as viewers, we are appreciative when the cloud lifts just a bit.
Greetings again from the darkness. It’s the first feature film from Jared Douglas, and as with most dedicated independent filmmakers, he wears many hats in this production: writer-director-producer-editor. Mr. Douglas certainly didn’t take the easy route or shy away from difficult material. Instead, he takes us deep into the dark world of mental illness.
Rather than a peek inside an asylum or mental hospital, we are up close and personal with Lucio and his struggles. Lucio is played by Christian Gnecco Quintero, and our first inclination something isn’t quite right comes when he’s buying diapers at a convenience store. Lucio gets skittish and looks around as if someone is watching or following him (the camera enhances the feeling). He calls Vanessa (Stefanie Rons) to tell her that he’s in danger and he can’t come home to her and their young daughter. Lucio then hits the road … he’s on the run from something or someone we don’t see.
Our eyes are on Lucio nearly every moment of the 84 minute run time. It’s not pleasant to see what he’s going through. Lucio is paranoid to the point of self-destruction. When his car breaks down, a kind stranger named Chris (Dwayne Tarver) takes him back to his ranch cabin. Throughout the film, Lucio flashes the ability to converse with others, but it’s never long before the illness kicks in. Even the charity or generosity of strangers isn’t enough to put Lucio at ease, and the consequences can be severe. His biggest challenge … his biggest hurdle … is himself. Periodic calls to Vanessa provide us the insight to see what a devastating scenario this is for her as well.
“I know you’re out there!” The phantom is all too real to Lucio. His reality is not ours. Cinematographer Neeraj Jain effectively captures the frantic moments and Quintero’s performance relays the urgency of every tick. Mental illness is often overlooked or overplayed in movies, but not so here. There is no comic relief, only the relentless pressure of trying to make sense of the confusion.
Greetings again from the darkness. If you have yet to experience a mid-life crisis, it only means you haven’t lived long enough. Of course, this ‘crisis’ often has little to do with age, and can seep into your marrow at any time … even when you think your life is plodding along just fine. These little thoughts or doubts or ideas start creeping in, and soon the only thing on your mind is a sports car, a younger partner, traveling the world, writing a novel, changing careers, or yes, starting a rock band.
Meet Bruce. He’s working a dead-end job as a 40-something year old paralegal. He’s married to the lovely Liz and they have two children and a fine house. Bruce’s boss takes advantage of his lack of ambition by assigning menial tasks and requiring overtime. When a burned-out Bruce arrives home in the evening, he sees the ‘To-do’ list his wife has posted on the fridge, and he guzzles a beer before heading down to the basement to play music and write songs. It’s his escape from life, but also his tie to younger years when he and his buddies had a legitimate band named The Incoherents.
Jeff Auer stars as Bruce, and he also wrote the screenplay. When his wife Liz (Kate Arrington) green-lights his dream of getting the band back together, Bruce contacts the Hamilton brothers, drummer Tyler (Ben Foster lookalike Casey Clark) and bass player Keith (Walter Hoffman), and they all meet up at the pub owned by their former lead guitarist Jimmy (Alex Emanuel, also the film’s Music Director and a Producer). The long-standing riff between Jimmy and Bruce dates back to the band’s initial run, but soon the chill warms and the band is rehearsing at Annette O’Toole’s studio. She calls them a “lost cause.”
The (middle-aged) boys enjoy playing gigs, but can’t seem to draw a crowd thanks to their utter ignorance of marketing or social media. Enter Jules (Vincent Lamberti), an agent of by-gone years who is blunt in his assessments, even if he seems to bring little else to the band. While all of this is happening, Liz is pushing to open her own long-wanted graphic design business. The idea of both spouses pursuing their dreams is quite intriguing, but the film misses a huge opportunity by focusing almost entirely on Bruce and the band. Liz is left with the scraps of a few reaction scenes (a waste of Ms. Arrington’s talent).
This is director Jared Barel’s first feature film, and it’s likely many of the missteps will be avoided in future projects. Bruce is front and center for most of the run time, but there are other characters who seem to be much more interesting – though most of their backstories are simple teases. On the bright side, the dream of being a rock star is the dream of many, as is recapturing the vitality of a youth long passed. So the relatability factor is present.
Bruce and Liz have 2 kids, which are treated mostly as after thoughts that only come in to play when both parents have something they want to do on the same weekend. Somehow the $80 for a babysitter becomes an obstacle that can’t be overcome … this despite the band’s numerous $30 per rehearsal hour in the studio and Liz’s plane trip to attend her sister’s book signing and put together a business plan. Very little of the real world stuff makes sense, which leaves the band part feeling a bit superfluous and hokey. Amy Carlson (“Blue Bloods”) has an awkward scene as a super-promoter, and we do get see Fiona Silver perform. There are some good ideas here, but it feels like the filmmakers were a bit too close to the project for it to ever really click.
Greetings again from the darkness. Trust in our national institutions may be at an all-time low, but it’s not like there haven’t been plenty of events over the years to make us wary enough to demand attention and oversight. This story of the 2002 Nassau County Schools scandal is a prime example. This is director Corey Finley’s follow up to his clever and twisted THOROUGHBREDS (2018), and the script is from writer Mike Makowski, who was a student in the district when the scandal hit.
Hugh Jackman plays Dr. Frank Tassone, the District Superintendent of Schools, while Oscar winner Allison Janney (I, TONYA) is Pam Gluckin, the Assistant Superintendent. Both are excellent, but Mr. Jackman delivers what might be his best ever performance. His Tassone is uber-charming, and clearly wants the best for the schools and students. We do notice some oddities about him. He seems to be overly concerned about his physical attractiveness – perfect business suits, facelifts, not a hair out of place, and big smiles to show the world he has it all under control. In contrast, if Ms. Janney’s Pam had a mustache, she would certainly twirl it as the story’s most obvious villain.
The film opens by informing us that the district has been evaluated as doing excellent in terms of student test scores, student admissions to prestigious schools, raising property values in the area, and with financial success that leads to a new construction project – one that appears to be more of an ego project than substantive for education. Ray Romano plays the President of the School Board, and we get glimpses of life at the school, and the challenges faced by the administrators. As with many things, if all is well, few questions are asked.
However, stuff hits the fan when a reporter for the school paper starts doing some basic research. Rachel (Geraldine Viswanathan, BLOCKERS) is writing a “fluff” piece on a new high dollar capital improvement project at the school, when she stumbles on irregularities in billing. It turns out Ms. Gluckin has been embezzling for years. When the discrepancies first come to light, the conversations with the school board and administrators is downright fascinating. The crime is obvious, but by going public, who does it help and who does it hurt? These people don’t want the kids to lose opportunities. They don’t want their property values to drop. And they don’t want the bad publicity that comes with being unaware fraud had been ongoing under their watch.
Once Ms. Gluckin’s scheme has been exposed, Jackman really kicks it into gear for Tassone. Any additional details would spoil the fun, but it becomes clear that he’s a master manipulator. Corrupt people have a way of convincing themselves their actions are justified, given the good work they do. You know the drill – underappreciated and underpaid. Solid support work comes from David Bhargava as Rachel’s father, who is also going through his own professional crisis. Alex Wolff is the editor of the school paper, and he faces his own moral dilemma in a scene where he knows the right thing to do will actually cause harm to his college opportunity. Finally, Rafael Casal stars as Kyle, a bartender/dancer and former student of Tassone, as they are reunited in Las Vegas.
Director Finley and cinematographer Lyle Vincent (THROUGHBREDS, A GIRL WHO WALKS HOME ALONE AT NIGHT) shoot in harsh light, never allowing the truth to hide behind soft filters. These are complex people with real lives and real families and real friends, all doing good things for the students. Watching a compromise of morals or a twisting of ethics is always a bit uncomfortable, but the film shows just how easy we can overlook the obvious. The film features brisk pacing with some dark humor in moments that least deserve humor. The trailer is a bit misleading, as the comedy is quite dark in nature. A low-key approach to filmmaking provides none of the over-the-top dramatic flair we expect. Instead it’s social commentary and a psychological study of pathological liars and manipulators … in positions that bring public trust.
Greetings again from the darkness. The opening title card states “Nothing you are about to see is true” … and then it dissolves, leaving the word ‘true’ as the first word in the film’s title. Of course, some of the things we are about to see are true, though it is a dramatized version with a screenplay adapted by Shaun Grant (BERLIN SYNDROME, 2017) from Peter Carey’s 2000 novel. Director Justin Kurzel (MACBETH, 2015) takes a very artsy and stylistic approach in telling the story of the notorious Australian outlaw, Ned Kelly, while still including the expected violence and brutality.
Opening in 1867 Australia, we first see young Ned Kelly (Orlando Schwert) spying on his mother (Essie Davis, THE BABADOOK, 2014) as she provides service to Sgt. O’Neill (Charlie Hunnam). It’s the kind of service a young boy should never see his mother perform, especially as the father/husband (Ben Corbett) hovers outside the cabin with Ned’s siblings. Life is difficult for the Kelly family. Dad has some issues, so mom does what she has to in order to keep food on the table. Ned’s life and family dynamics change quickly when his dad takes the fall for a crime Ned committed.
Harry Power (played by hefty Russell Crowe) arrives on the scene, and becomes Ned’s mentor in song (a sing-a-long title that can’t be repeated here) and as a bushranger. It’s not long after this when the movie shifts from Ned as a boy, to Ned as a man (played by George Mackay, 1917), who spends a few years away from home. Ned crosses paths with Constable Fitzpatrick (Nicholas Hoult) numerous times, one which results in Ned meeting, and falling for, a young prostitute named Mary Hearn (Thomasin McKenzie, JOJO RABBIT). Ned and Mary return home to visit his mother, and they find she’s now engaged to a younger man, George King (Marlon Williams). George has been teaching his “trade” of horse-thieving to Ned’s brothers, including Dan (played by musician Nick Cave’s son, Earl Cave). It’s at this point we learn about how the Kelly Gang was formed, and why they took to wearing dresses … “Nothing scares a man like crazy.”
There is a lot going on in this story for the tale of a man who was executed at age 25. We see Ned evolve from a curious youngster to a bare-knuckle boxer to an outlaw who became an anti-hero cult icon. Witnessing the father figures he endured leaves little wonder why he turned out the way he did – an angry, cross-dressing outlaw leading the Irish rebellion in hopes of taking down the Crown. Ned is told that “a man can never outrun his fate”, and we know Ned’s fate upfront. We are there as Ned gives a motivational speech to the Kelly gang, and we watch in awe as they self-test their own body armor.
“My Dear Son …” are the first words we hear as Ned writes a letter promising to tell no lies about his history. The letter acts as somewhat of a framing device for the film, and covers the entirety of the Kelly Outbreak, as it’s now referred. There have been numerous projects (movies, mini-series, docu-dramas) over the years, including Mick Jagger (1970) and Heath Ledger (2003) as those who have portrayed Ned Kelly on screen. Director Kurzel and cinematographer Ari Wegner offer up quite a stylish look for this vast wasteland, and even utilizes some Terrence Malick-type editing for effect. Even the closing credit sequence is a work of art. It’s a family affair for director Justin Kurzel, as his brother Jed Kurzel delivers the music, and Justin’s wife Essie Davis plays Ned’s mother. It’s certainly not a typical western, and Ned is difficult to relate to as a character, but the look and style of the film keep us engaged. Perhaps the oddest decision was to have MacKay clean-shaven, as most of us have seen the photos of Ned Kelly and his beard … a beard that seemed to inspire modern day hipsters. Filming took place at Old Melbourne Gaol, which was the actual spot where Ned Kelly was hanged. His last words were: “Such is life.”
Greetings again from the darkness. Their mother amassed quite the collection of whale-related items from eBay prior to her recent passing. The brother needs the inheritance to continue his self-discovery course, which may or may not answer the question of whether or not he is gay. The estranged sister apparently abandoned her young daughter for fear of being a lousy mother. He admits to being ‘lost’, and she admits to being ‘broken’. Self-loathing is on full display in director Sean McEwen’s first feature film.
Tom Felton (Draco from the Harry Potter movies) plays Brandon Walker, and Tammin Sursok (“Pretty Little Liars”) plays his older sister Star Walker. They reunite for the reading of mom’s will, which includes the outlandish requirement for Brandon and Star to dispose of mom’s ashes in the belly of whale in order to receive their inheritance. Needing the money, they hop in mom’s old Winnebago for a 48 hour road trip to a public aquarium that houses the closest whale to Iowa.
The emotional impact of a story about a brother and sister finding common ground on a forced road trip boils down to two things: the chemistry between the two actors and the script. Mr. Felton and Ms. Sursok seem to be committed to the cause, and there are a couple of moments that strike the right chord, but overall the script is what prevents us from connecting to either the characters or the story. The attempts to inject humor tend to be in poor taste, while the dramatic elements either repeat themselves or don’t work because we simply don’t care enough about Brandon or Star.
Having the running gag of Brandon proclaiming “I’m not gay” while Star relentlessly peppers him on the topic comes across as not just dated, but also quite sad – seeing as Brandon is a thirty-something year old man. And worse than that is the stop over at Aunt Jackie’s (Wendi McLendon-Covey, BRIDESMAIDS, “The Goldbergs”) and Uncle Randal’s (David Koechner) house. This sequence of social commentary meant to bash extreme right-wing conservatives is simply embarrassing to watch. I actually felt terrible for the actors in these scenes. Comedy around homosexuality and racism must be handled with grace … whether it’s subtle or cartoonish.
The script was co-written by director Sean McEwen and his leading lady (and real life wife) Tammin Sursok. Respect is due to independent filmmakers who find a way to realize their project, but we do wish more time had been spent on the script. In fact, the whole production felt rushed and unpolished, leaving us with the most dreaded question any movie watcher might ask … how much longer?
Greetings again from the darkness. It’s been too far long since my last “revisited” piece. These are meant to be a combination of movie review and historical perspective on a particular classic movie that I’ve watched yet again. My choice this time is NINOTCHKA, nominated for 4 Oscars (including Best Picture nominees) in what is widely considered one of cinema’s greatest years, 1939.
The roster of director, writers, producers, cinematographer, composer, set director, set decorator, editor, costume designer and actors reads like a “Who’s Who” of Hollywood. The director-producer was Ernst Lubitsch, whose career included 3 Best Director Oscars for HEAVEN CAN WAIT 1943, THE LOVE PARADE 1929, and THE PATRIOT 1928. He also directed THE SHOP AROUND THE CORNER (1940) which was later adapted into YOU’VE GOT MAIL (1998 with Tom Hanks and Meg Ryan). Lubitsch made a successful transition from silent films to talkies, and also directed 3 other films (a total of 6) that were Oscar nominated for Best Picture, including NINOTCHKA. He died of a heart attack at age 55 in 1947.
There are four credited writers for the film, each of which received an Oscar nomination. The original story was written by Hungarian writer Melchior Lengyel, and was adapted by Billy Wilder, Charles Brackett, and Walter Reisch. Mr. Wilder was nominated for 21 Oscars in his career, winning 6. Of course, he went on to become one of Hollywood’s most successful directors with classics like DOUBLE INDEMNITY (1944), THE LOST WEEKEND (1945), SUNSET BLVD (1950), WITNESS FOR THE PROSECUTION (1957), SOME LIKE IT HOT (1959), and THE APARTMENT (1960). Co-writer Mr. Brackett scored 9 career Oscar nomination, including wins for THE LOST WEEKEND (1945), SUNSET BLVD (1950), and TITANIC(1953), the first two of which he shared with Mr. Wilder. Wilder and Brackett had quite a professional relationship, as they wrote 14 movies together, and on an odd personal note, Brackett’s second wife was the younger sister of his first wife (who had died). Mr. Reisch, a 4-time Oscar nominee, shared the TITANIC Oscar with Mr. Brackett, and also wrote the still-popular GASLIGHT (1944, directed by George Cukor).
Greta Garbo plays Nina Ivanovna Yakushova, better known as the titular Ninotchka. Ms. Garbo was born in Sweden, and became more than a movie star … she was an icon. She was a 4-time Best Actress nominee, including one for NINOTCHKA. This was her first U.S. comedy, which was such a big deal, that MGM used the tagline, “Garbo laughs!” (a riff on “Garbo Talks!”). This was her penultimate film, as after TWO-FACED WOMAN (another comedy with co-star Melvyn Douglas), she walked away from acting in 1941 at age 36 (imagine if Meryl Streep had retired after OUT OF AFRICA). Ms. Garbo lived in seclusion in New York City, cultivating the infamous “Garbo Mystique”. She never married, though John Gilbert standing all dressed up at the alter certainly thought she was going to! For other standout Garbo performances, see ANNA KARENINA (1935), CAMILE (1936) and QUEEN CHRISTINA(1933).
Melvyn Douglas plays Count Leon d’Algout, a debonair charmer who incites a (passive-aggressive) rivalry between Ninotchka and Grand Duchess Swana. Douglas’ character is one we more frequently expect from William Powell or Cary Grant (both were offered the role), but it would be a mistake to think Lubitsch “settled” on Douglas. He’s considered one of the finest actors ever, and one of the few to have won a Tony, an Emmy, and an Oscar (he won two). Douglas has played the on screen dad to both Paul Newman (HUD, 1963) and Robert Redford (THE CANDIDATE, 1972), as well as Gene Hackman’s dad (I NEVER SANG FOR MY FATHER, 1970) and Peter Sellers’ quasi-mentor in BEING THERE (1979). Mr. Douglas is the grandfather of well-known actress Illeana Douglas (TO DIE FOR, 1995; STIR OF ECHOES, 1999), although, to this day, he is best remembered as the actor who made Greta Garbo laugh!
While Ms. Garbo and Mr. Douglas dominate the screen time, the cast features some other interesting and talented players. Ina Claire plays the exiled Grand Duchess Swana. Ms. Claire was a young Vaudeville performer and part of Ziegfeld Follies before building a reputation as a sophisticated comedy stage actress. She was briefly married to John Gilbert after he was jilted by Garbo, and she only appeared in 7 “talkie” movies before retiring from acting in 1943. Bela Legosi appears as Commissar Razinin, and of course he is best remembered as Count Dracula from Tod Browning’s 1931 DRACULA for Universal. Legosi was a charter member of the Screen Actors Guild (SAG), and died flat broke after his affiliation with schlock-director Ed Wood. He appeared alongside fellow Monster Universe icon Boris Karloff in numerous films (including THE BLACK CAT, 1934; THE RAVEN, 1935), and was buried wearing one of his Dracula capes (not the one from the film). The 3 bumbling Russian envoys who so quickly adapt to western ways are played by actors who fled their homeland and emigrated to the U.S. due to war. Sig Ruman was a German who appeared in several Marx Brothers films, Felix Bressert was a German who had a medical practice as a “side gig”, and Alexander Granach was Hungarian, and also appeared in FW Murnau’s 1922 NOSFERATU. Lastly, Edwin Maxwell, who plays jeweler Mercier, appeared in 13 Best Picture nominees (4 winners) in a 15 year span.
Although the story is not a complicated one, it’s important to note the era. The world had not yet stabilized after WWI and was on the verge of WWII. Joseph Stalin was the leader of the Communist Party in the Soviet Union, and one of the most feared men on the planet. That may not sound like the foundation for a comedy, and it’s important to note that the film is comedy, satire, and political commentary rolled into one. Three Russian envoys are sent to Paris to sell the jewels seized from Grand Duchess Swana during the Russian Revolution. They book the Royal Suite at a posh hotel (partly) because it has a large in-room safe for the jewels. As they are meeting with local jeweler Mercier to finalize the sale, Count Leon barges in to scuttle the sale and trick the envoys into returning the jewels to their rightful owner, the Grand Duchess. Soon, Ninotchka, a no-nonsense Russian, is dispatched to expedite the sale and send the first 3 envoys back home. Ninotchka and Count Leon meet by happenstance, and he’s immediately smitten with her, while she initially views him as little more than a curiosity.
The Eiffel Tower segment is pure brilliance in writing and acting. The dowdy Russian (Ninotchka) is interested in the global landmark for its technical achievement, while Count Leon shifts his charm into overdrive. Her line telling him to “suppress” his flirting is really our first glimpse of Garbo comedic timing … though it’s certainly not the last. The segment serves as a contrast in personalities – the face of communism versus the face of capitalism. Of course, it’s the “Garbo laughs!” moment in the café that most remember. Count Leon bumbles through joke after joke to no reaction, and once she cracks, she really lets loose. It’s a thing of beauty to watch.
As previously mentioned, it’s not just Lubitsch and Garbo and Douglas that make this a classic. The full production crew have a place in cinematic lore. Cinematographer William H Daniels won an Oscar for THE NAKED CITY (1948), and lensed 21 Garbo films. Editor Gene Ruggiero won an Oscar for AROUND THE WORLD IN 80 DAYS (1956), and composer Werner Haymann was a 4-time Oscar nominee. Set-Art Director Cedric Gibbons was a one-time Edison Studios staffer, and won 11 Oscars over 26 years, eclipsing the 8 Oscars won by Set Director Edwin Willis. Adding to the intrigue is Costume Designer Adrian (married to actress Janet Gaynor) who is still revered as one of the best all time with over 250 movies in 30 years, though he’s even more famous for his designs outside of cinema.
1939 is arguably the greatest of all movie years since it also gave us: GONE WITH THE WIND, THE WIZARD OF OZ, STAGECOACH, MR SMITH GOES TO WASHINGTON, GOODBYE MR CHIPS, GUNGA DIN, THE HOUND OF THE BASKERVILLES (the first of the series starring Basil Rathbone), OF MICE AND MEN, WUTHERING HEIGHTS, and LOVE AFFAIR. Though it didn’t win any Oscars (4 nominations), film schools still study NINOTCHKA’s sardonic dialogue, and the way the ‘decadent’ western ways seduce the Russians. It’s clear why film history books refer to the “Lubitsch touch” – a comical and witty approach to serious topics. Beyond that, the MGM marketing department certainly knew how to capitalize on a guffawing Garbo. As with the best classic films, there is much to study, much to learn, and above all, much to enjoy.
Greetings again from the darkness. Uruguayan writer-director Lucia Garibaldi has seemingly designed her first feature film specifically for film critics at festivals (it was well received at Sundance). I can’t recall a coming-of-age film with a less-accessible lead character, nor one that displayed that awkward phase between child and adult in a harsher manner. Watch that emotional step – it’s a doozy!
First time actress Romina Betancur plays 14 year old Rosina. The opening finds her running from her angry father right into the sea. It’s at this point she spots the dorsal fin of a shark. Of course no one believes her because sharks are not known to swim around this fishing village in Uruguay. We also learn that Rosina has recently caused an eye injury to her sister Mariana (Antonela Aquistapache), and Rosina claims it was an “accident.” It becomes apparent that her actions are not always the result of wise planning.
Rosina begins working on one her father’s labor crews as the town prepares for the summer visitors. Also on the crew is Joselo (Federico Morosini), an older boy in whom Rosina shows an interest. After their unconventional “date”, Joselo bores of the youngster, while she is rendered both curious and confused. Rather than a sexual awakening, Rosina seems to experience internal prods of which she is unsure how to handle. This transition phase is shown through the perspective of an awkward 14 year old girl who seems to handle everything with a constant stone-face … the envy of any poker player.
Once Joselo’s interest level shifts to others, Rosina fights back in what apparently is her dark nature. Some could call her a psychopath, as her instincts prove ill-advised at best, and possibly even flat out dangerous. Her quiet predator similarities to the shark are obvious, even as the question of ‘shark or no shark’ cloaks the community. Life in this area is not easy. Water is scarce, and these folks have no time to wrestle with Rosina’s twisted ways. Her mother is opening a new salon, and even a pregnant dog has a role in Rosina’s revenge plan.
Uruguay’s rocky coastline and wooded forests make for a picturesque background, and Ms. Garibaldi and cinematographer German Nocella take full advantage. The many tight shots of Rosina are meant to emphasize her isolation and separation, but at times it felt like this shot was used a bit too frequently. The electronic music was often distracting, and the slow pace certainly could have worked if the character development of Rosina had allowed us to better grasp her emotions and thoughts. Instead, the film is either restrained or dull, depending on your taste … although the flashes of humor certainly help. Director Garibaldi may relate to Rosina, but we never do. We are left thinking this could have been an extraordinary short film.
Greetings again from the darkness. Movies that put youngsters in peril can go one of two directions: the story can feel contrived to the point of manipulation, or it can be real and heartfelt with commentary on society. Filmmaker Eliza Hittman proved her mettle with BEACH RATS (2017), and she proves yet again, that her instincts translate to the screen in stories and characters that hit a nerve.
It’s stunning to discover that this is the first screen credit for Sidney Flanigan who plays 17 year old Autumn. We first see her onstage at her school talent show singing a soulful rendition of “He’s Got the Power”, a 1963 song by The Exciters. Her performance stands in contrast to the mostly generic acts from her classmates, though it’s our first hint at how she is perceived. Autumn is one of those teens who seems to be naturally burdened with more than she can carry. A bloated belly leads her to take a pregnancy test at the local clinic, where she is informed that “a positive is always a positive” – a brilliant line than doesn’t hold true for all interpretations.
The clinic worker shows Autumn an anti-abortion video, which leads her to Google do-it-yourself abortion, and finally to the realization that because of Pennsylvania’s requirement for parental consent, she’ll have to travel to New York City for the procedure. Fortunately for Autumn, she has a trusted and resourceful friend/cousin/co-worker in Skylar (Talia Ryder, who will appear in Spielberg’s upcoming WEST SIDE STORY remake). The girls skim from their cash registers at the grocery store they both work at, and then hop on the bus towards the city.
Their time in the city is an adventure unto itself. By this time we’ve seen some of the everyday obstacles faced by teenage girls, including thoughtless teenage boys, a loathsome stepfather (Ryan Eggold), and a sleazy store manager. All of this is in addition to the challenges brought on by being a sexually active minor. On the trip, they meet Jasper (Theodore Pellerin, “On Becoming a God in Central Florida”), a fellow bus traveler who strikes up a conversation. Is he a good guy or not? Can he be trusted or not? Again, these are situations that the teens must navigate through instincts not yet fully developed.
A questionnaire administered at the Planned Parenthood clinic provides the film’s title, as well as one of its most powerful scenes. Ms. Flanigan is exceptional as this simple form requires her to face her situation and her life as she answers questions regarding her sexual and personal history. Ms. Ryder is also tremendous in making Skylar such a strong young woman and friend. This film and these actresses show more than they tell. The minimal dialogue contrasts to the many movies who portray gabby teens. Writer-director Hittman seems to make movies more appreciated by critics than mainstream audiences, but it seems her time is coming. She makes her political belief quite clear, but does so by focusing on the real world that teenage girls face. It’s a dramatic work of art with extraordinary camera work by Helene Louvart (the excellent INVISIBLE LIFE, 2019).
Greetings again from the darkness. These days, B-movies don’t get the respect they deserve. In the age of massive, hundred million dollar (and more) budget blockbusters, the low-budget movies produced purely for entertainment purposes get brushed off as being undeserving of screen time. The truth is, the best ones are easy to watch … and can be a fun way to while away the hours if, say, one is forced to stay in their home for an extended period of time. Writer-director-actor Jon Abrahams’ movie fills this role just fine.
Mr. Abrahams (MEET THE PARENTS) and Mark Webber (GREEN ROOM) star as the Callahan brothers, Mickey and Jackie, respectively. These are the type of Irish brothers who only stop bickering long enough to wrestle each other to the ground. While most of their spats may be typical brother stuff, this latest involves Jackie’s inept card playing, and the subsequent loss of the money they needed to pay back a mob loan shark. Missing this payment means Tony (Chazz Palminteri) assumes ownership of the Irish bar their late father opened, and it could mean even worse news for the brothers.
I would pay triple ticket price just to watch Chazz Palminteri chew scenery like he does here as Tony. When he makes the boys an offer they can’t refuse, they end up in the basement of a house with Tony’s son Joey (Michael Godere) telling them to shoot the man tied to a chair (another of Tony’s loan customers). Ba-da-bing, ba-da-boom, and the next thing we know Mickey and Jackie are on the run with 13 year old Clover (Nicole Elizabeth Berger), dodging Tony’s men, in addition to the 2 female assassins (Erika Christensen, TRAFFIC) and Julia Jones (WIND RIVER) they aren’t even aware of!
As a quasi-framing device, we find Ron Perlman holed up in a fabulous mansion that we view with the film’s opening aerial shot. Mr. Perlman is afforded his own chance to ‘let loose’ and emote like he’s participating in an acting seminar … while play-calling the wolf video running simultaneously. Other characters that cross paths with the brothers and Clover include Jackie’s ex-girlfriend Angie (Jessica Szhor), a befuddling rescue ‘scientist’ played by Jake Weber, and a bar owner played by Tichina Arnold, who like Perlman and Palminteri, was clearly directed that it’s not possible to go “too big” in a scene.
Humor, most of it pretty dark, is around every corner. A bowling pin has a use outside the lane, the lady assassins drive a car with a fitting sign, we are treated to a good old fashioned death scene, and there’s a shootout accompanied by melodic jazz. As a cherry on top, the bar patron that the brothers leave in charge is Larry, played by the director’s dad, Martin Abrahams. There is a definite 1970’s vibe to the story and film, and we can’t help but be a little disappointed when the conclusion does in fact, “end the chaos.”
Greetings again from the darkness. A film focusing on an unlikely intersecting of cross-generational dead-end lives in a mostly ignored poverty-stricken area on the outskirts of Houston may not seem like much of a pick-me-up during these challenging times. And while it’s not a crowd-pleaser, it is pleasing in a high quality independent filmmaking kind of way – especially to those of us who thrive on such projects. Writer-director Annie Silverstein’s first feature film was co-written with Johnny McAllister and Josh Melrod, and it never tries to impress with any cleverness or trickery, and instead allows us to wallow in the harshness of a world that has its inhabitants grasping for hope.
Posted by David Ferguson 
