DIFF 2019 Day 2

April 13, 2019

2019 Dallas International Film Festival

 Greetings again from the darkness. I missed yesterday’s Opening Night Gala and feature film, but paid my penance today by taking in 5 films on Day 2 of this year’s Dallas International Film Festival. Changes have come to the festival this year, including reserved seats, and a shorter run that omits the encore screenings of award winners on the final weekend (there is no final weekend). The reserved seats policy is especially challenging for those of us who try to catch a couple of dozen films during the festival, but if it helps things run a bit smoother, then it’s something we will work around.

As with other years covering the festival, I will recap the films I see each day. Due to the time involved and the quick turnaround required, these will not be the usual full reviews, but rather an overview of the films and my initial reactions. If you are in the Dallas area, the festival runs through Thursday April 18, and more info can be found at http://www.DallasFilm.org

 

MS. PURPLE

 Kasie (an excellent Tiffany Chu) lives with her father, who has an unidentified terminal illness and is in an extended coma with no real chance for recovery. Kasie is the primary caregiver, and out of duty, refuses to put him in hospice for professional care. She also works as a Hostess/Escort at a popular Karaoke bar and has a rich boyfriend, although there seems to be no love between the two – it’s more of a business relationship.

Out of necessity, Kasie re-connects with her older brother Carey (Teddy Lee) who bolted from home many years ago after disputes with the father. He seems to have done little with his life, and frequently gets booted from an internet café for lack of cash. Carrying guilt for deserting his sister and father years ago, especially since the mother/wife left home when the kids were very young, he agrees to help Kasie with caregiving, and even takes dad for “road trips” in the neighborhood by pushing the bed through town (a comical sight).

Director and writer Justin Chon (co-written with Chris Dinh) was behind the critically acclaimed GOOK in 2017 (a Korean DO THE RIGHT THING). Here he uses Kasie’s flashbacks to childhood with her dad and brother as a framing device, demonstrating how the father dealt with his wife leaving, and laying out the responsibilities and burdens that family can bring. There are recurring shots of lone palm trees whose significance to Kasie is only explained late in the film … but does provide more insight into the bond with her father. A nice young valet (the car parking type) offers Kasie a taste of normalcy and it slowly brings her back towards center. The film has a terrific score of violin music from Roger Suen, and lets us know that finding one’s self while caring for another can be a breakthrough that may sometimes be loud, and may sometimes be quiet.

 

LEAVE THE BUS THROUGH THE BROKEN WINDOW (doc)

 Most documentaries explore a topic or an event, or provide a profile of a person or organization. Not this one. It’s an unusual … OK, very odd … documentary that follows Andrew Hevia, a Cuban-American photographer/filmmaker on his trip to Hong Kong to cover the Art Basel fair. His motivation in heading to Hong Kong from the United States is a nasty break-up in a long-term relationship with his girlfriend. It seems more likely that he’s running from rather than towards, and he is described as having a camera and little else.

Mr. Hevia admits to having no real knowledge of Hong Kong art and the initial culture shock he experiences includes securing lodging that can best be describes as “cozy” – a 40 square foot “apartment” that would be a tight closet and inhumane prison cell. Once he has a roof over his head, he hits the street with his camera. It’s at this point where we realize he has no real plan.

On his trek through the city, he crosses paths with fish balls, art galleries, jumpers, a street riot, artists, art collectors, expats, tourists, students, and a ferry ride. People come and go during his days and nights as he interacts with all sorts … often showing us a part of the city we wouldn’t likely see. He searches out different artistic outlets, attractive girls, and just about any party he can crash. The film plays like a travel video-diary narrated by electronic voice that’s a blend of Alexa and the computer voice from WAR GAMES. It’s an unusual viewing experience and one that leaves us feeling a bit empty. Fortunately, its run time is a brisk 68 minutes.

 

TREASURE ISLAND (doc) L’ile Au Tresor

 Yet another atypical documentary, this one from French director Guillaume Brac, who turns his lens on a water park in suburban Paris. The park is beautiful and wrapped in nature, as the lake offers many differing areas of attraction depending on one’s interests.

Brac presents various segments, some quite short, based on various groups visiting the park. We might be watching a group of underage adolescent boys trying to sneak in, and once caught, try to talk their way out of trouble. In a few segments we see the challenges facing the security guards who have to balance the park’s goal of fun with the need for safety. Of course this is France, so we also get the teenagers flirting and trying to impress each other (“Life is great”). There are families – large and small – enjoying a picnic in the bucolic setting, while young kids splash and frolic during their carefree days. Brac even takes us behind the scenes where park managers work on logistics based on weather, staff, and resources.

This is really more of a social project than a cinematic one, and we sometimes feel like we are snooping on people just having fun or doing their job. One segment with a 10 year old boy and his 3 year old brother is particularly sweet. The beauty of the park setting is contrasted with the pylon jumpers and the after-hours staff partying, but mostly it shows that people are pretty similar no matter the location.

 

WILD ROSE

 Quick … name all of the female Country music singers from Glasgow, Scotland! That’s the premise for this film from director Tom Harper and writer Nicole Taylor, both best known for their British TV work. Rose-Lynn Harlan is being released after a year in jail on drug charges. She uncomfortably adjusts her white boots over the ankle monitor and sets off to conquer Nashville with her singing.

Of course there are a few problems with her Music City dream. See, she’s a single mother with two kids, and she’s from a working class area where putting food on the table and paying the bills is a significant achievement. Jessie Buckley stars as Rose-Lynn, and by stars I mean she carries the film and flashes great promise as an actress. Her no-nonsense mother Marion is played by 2-time Oscar nominee Julie Walters, and while Rose-Lynn has stars in her eyes, mother Marion pushes her to take a housekeeping job and focus on her kids.

We know where all of this is headed, and it’s a credit to Ms. Buckley and Ms. Taylor’s script that we care enough to follow along. Rose-Lynn is employed by the wealthy Susannah (Sophie Okonedo), and we get one of the funniest vacuum cleaner scenes ever. Susannah soon takes on Rose-Lynn as a pet project with the goal of helping her get to Nashville for her shot.

Some rough language is peppered throughout and it’s spouted with the heaviest of Scottish accents, so much of it sounds a bit comical rather than threatening. The film is a bit uneven, but the mainstream approach keeps it from going too far off track. “Three chords and the truth” is used to describe country music, and if that’s your musical taste, you’ll likely enjoy the songs. However, if you prefer ‘Country and Western’, you’re flat out of luck.

 

THE DEATH OF DICK LONG

 “It’s been awhile” by Staind is the song we first hear from Pink Freud, a garage band formed by buddies Zeke, Earl and Dick. The music is awful, but “band practice” seems to exist solely for the purpose of getting these slackers together, hanging out, and drinking beer. Daniel Scheinert also directed SWISS ARMY MAN (2016) and this is the first screenplay from Billy Chew. Mr. Scheinert also plays the titular Mr. Long.

One evening, band practice takes a wrong turn, and Dick ends up dead … dumped in a hospital parking lot by his bandmates. If we previously had any doubts as to the intelligence of Zeke and Earl, all of that is cleared up as these two bumbling idiots try to cover up their involvement and what actually happened that night. The cause of death is slow to unfold, but once it does, it surely is the only one of its kind. The Sheriff (Janelle Cochrane) and her deputy (Sarah Baker) prove equally clueless in their attempts to solve the crime, and much of the film’s humor revolves around folks just not asking quite the right question in any situation.

Michael Abbott Jr plays Zeke and Andre Hyland plays Earl, and there scenes together will have you laughing and questioning human existence. Virginia Newcomb plays Lydia (Zeke’s wife), Jess Weixler is the perplexed wife of Dick, and Sunita Mani is hilarious as Earl’s friend Lake Travis (a name nearly as much of a punchline as the film’s titular character).  While the film has many funny and awkward moments, it can also be taken as a statement on testosterone-driven bad decisions and actions with consequences. If nothing else, we learn how to quickly answer when someone asks, “Y’all wanna get weird?”

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Posted by David Ferguson

STOCKHOLM (2019)

April 13, 2019

 Greetings again from the darkness. The film opens with a title card informing us that it is “based on an absurd but true story”. In 1973 the Kreditbanken of Stockholm Sweden was held up by an armed man. The ordeal was unusual for low-crime Sweden and it was broadcast live on TV. It has also been credited as being the origin for the term “Stockholm Syndrome” – a term to describe the bonding that sometimes occurs between a hostage and their captor.

Writer-director Robert Budreau wisely wastes little time with setting the stage. Lars (Ethan Hawke) dons a disguise meant to trick the police, and storms the bank lobby armed with a sub-machine gun. Wearing a cowboy hat and a leather jacket with a Texas flag, he proclaims “Remember the Alamo” as he secures some hostages and presents himself as Kaj Hansson, a well-known criminal. Of course, Mr. Hawke is certainly an American, and the actual robbery/hostage event was conducted by a Swede.

Lars is loud and boisterous to the cops, while simultaneously being sympathetic and understanding to the hostages – especially Bianca (Noomi Rapace), a married woman with two kids. Christopher Heyerdahl plays Police Chief Mattison, and he employs some unexpected psychological gamesmanship with Lars that gets even more convoluted when Swedish Prime Minister Olaf Palme becomes involved. Lars’ real goal here is to spring his buddy Gunnar Sorensson (Mark Strong) from jail and have them both ride off to freedom in a mustang like the one Steve McQueen drove in BULLITT.

Yes, I should mention that although guns are fired and hostages are held, this is really an offbeat comedic bank heist. It focuses on how the hostages bond with their captors and how Bianca quickly realizes that not only is she smarter than Lars and Gunnar, but that the cops are more of a threat to her than the criminals. She strategizes better than either side, and Ms. Rapace (from the original Millennium Trilogy) is the standout performer in the film.

Filmmaker Budreau and Mr. Hawke previously collaborated on an intimate look at jazz trumpeter Chet Baker in BORN TO BE BLUE (2015), and they prove again that they work well together. The other two hostages are played by Bea Santos as Clara and Mark Rendall as Elov. When Prime Minister Palme refuses to negotiate or allow Lars to leave with hostages, we can sense the emotional tide turn as Clara, Elov and Bianca realize they are safest remaining with the hostages.

Of course there are some liberties with history taken for cinematic reasons, and since most of the filming takes place within the confines of the bank, we do get to know each of the participants pretty well. The similarities to Sidney Lumet’s DOG DAY AFTERNOON (1975) are unmistakable, and one of the reporters covering the story even comments that it’s “almost like watching an American movie.” The odd ending works for the film, and thanks to Ms. Rapace, there is enough heft to the characters to prevent the humor for taking over.

watch the trailer:

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Posted by David Ferguson

SUNSET (Napszallta, 2019)

April 13, 2019

 Greetings again from the darkness. Hungarian filmmaker Laszlo Nemes mesmerized us with his first feature film, SON OF SAUL (2015), the Oscar winner for Best Foreign Language film. That debut was an incredibly unique viewing experience centered on the Holocaust at Auschwitz. Mr. Nemes got much of the band back together for this follow up, and their collaboration, while a bit frustrating to watch, is again quite fascinating to look at.

Mr. Nemes co-wrote the script with his SON OF SAUL writing partners Clara Royer and Matthieu Taponier (also the film’s editor). And for those that share my frustration in watching the film, it’s the story that is likely to blame. Is there a story?  Certainly not in the traditional sense – which makes it difficult to follow or try to explain. Irisz Leiter (played by Juli Jakab) is first seen being fitted for fine hats in the elegant shop that bears her family name. We soon learn her parents both died, and she has been absent from the city for many years. The new owner, Oszkar Brill (Vlad Ivanov, 4 MONTHS, 3 WEEKS AND 2 DAYS, 2007) is startled to learn of Irisz’s return, though we aren’t sure why he is so uncomfortable around her. Irisz soon discovers she has a brother (a surprise to her) and that he is quite notorious in these parts.

Much of the film focuses on Irisz trying to track down her brother, and then track him down again. That’s the closest thing to a plot we get. Mostly it’s a succession of scenes where people ask questions that never get answered. In fact, there is minimal dialogue to go with the now-familiar camera work of cinematographer Matyas Erdely who utilizes his SON OF SAUL first person perspective with background fuzzed out so that we see what one person is seeing. There is an underlying theme of what is apparently a corrupt part of a mysterious sub-culture in the society – even involving the Royal family. Keep in mind this is 1913 Budapest and war is at hand.

The set design and costume design are extraordinary … especially the lavish hats from the era. The score is from Laszlo Melis (also from SON OF SAUL), and while Ms. Jakab is pleasant to look at, the story is disorienting and unfulfilling. The approach with the camera work is designed to force us to see things through the characters’ eyes, but it’s not enough to offset the incoherent and aimless wanderings of Irisz as she collects scraps of information that may or may not be pertinent. Perhaps you are smarter than I am, and will be able to connect the dots … or at least find dots to work with.

watch the trailer:

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Posted by David Ferguson

THE BEST OF ENEMIES (2019)

April 4, 2019

 Greetings again from the darkness. It’s easy to complain (and many do) about how Hollywood usually explores racism. Sometimes the stories seem a bit over-simplistic, as with THE HELP, GREEN BOOK, and HIDDEN FIGURES; however, rather than criticize, perhaps we should be thankful for any effort to prod. Often getting the conversation started is the best first step. That’s really the message from Robin Bissell’s directorial debut of a script he adapted from Osha Gray Davidson’s 1996 book “The Best of Enemies: Race and Redemption in the New South”. Mr. Bissell has previously been Executive Producer on THE HUNGER GAMES and SEABISCUIT, and Mr. Davidson’s book was previously adapted for a stage production.

Based on a true story that took place in 1971 Durham, North Carolina, the film portrays the remarkable events that led to the integration of public schools and a stranger-than-fiction friendship. Taraji P Henson stars as Ann Atwater, an African-American activist and community organizer, while Oscar winner Sam Rockwell co-stars as Claiborne “CP” Ellis, the Exalted Cyclops (basically the Chapter President) of the Ku Klux Klan. It seems the previous stranger-than-fiction description is aptly applied here when an aggressive black woman known as “Roughhouse Annie” can effectively sway the long ingrained beliefs of a KKK leader, and forge a friendship that would last 3 decades.

A school fire that partially gutted the elementary school attended by the black children in the community was the proverbial spark that kicked off the chain of events. When the white folks refused to share their school, the black children were forced to hold classes in the areas least affected by the fire … while demolition and renovation was being carried out. This led to the NAACP getting involved, which resulted in a judge ordering a “Charrette” – a blend of a committee and a civic debate – to determine how the community would move forward. Bill Riddick (Babou Ceesay, FREE FIRE, 2016) was charged with organizing the Charrette, and he named Ms. Alexander and Mr. Ellis as co-chairs. Keep in mind this was 17 years after Brown vs. Board of Education ruled in favor of school desegregation, but many pockets of the south were slow to come around.

The story structure offers synchronicity between the lives of Alexander and Ellis, as they each struggle with poverty and family challenges. It’s just one of the ways of trying to show they were more alike than different, and much more of the time is devoted to how the transition slowly occurs for Ellis. Of course, even though each side dislikes the other, it’s Ellis whose eyes must be opened as he clings to the only way of life he’s known. Because of this, Mr. Rockwell has the meatier role, but it’s Ms. Henson (and her fat suit) who draws the most laughs and nods of approval from the audience.

As you would expect, it’s a strutting Mr. Rockwell and boisterous Ms. Henson that dominate the film, however, some tremendous actors fill the supporting roles: Wes Bentley (as a Confederate soldier hat-wearing Klansman), Anne Heche (as Ellis’ wife), Nick Searcy, Bruce McGill, John Gallagher Jr, and Caitlin Mehner.

The film is a most entertaining (though a bit lightweight) look at an historic chain of events, and it’s right up there with a black cop infiltrating the Klan in Spike Lee’s 2018 film BLACKkKLANSMAN believe-it-or-not points. In 1980, Studs Terkel conducted an interview with Mr. Ellis, and it’s worth a read to gain a bit more insight into a man that truly changed his evil ways. The ending of this film leans heavily on the “feel-good” and “can’t we all just get along” approach, and maybe that’s not such a bad thing. The end credit sequence features some tremendous clips of the real Ms. Alexander (who died in 2016) and Mr. Ellis (who died in 2005), making it a bit easier to understand how the two opposites connected for the greater good.

watch the trailer:

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Posted by David Ferguson

DIANE (2019)

March 31, 2019

 Greetings again from the darkness. In a film that is both grounded in realism as well as playing like an ode to underappreciated character actresses, our wonderment turns to full comprehension once we realize this is the work of Kent Jones. Mr. Jones is one of today’s foremost authorities on film, having been a respected film critic, served as director of the Film Society of Lincoln Center, and delivered a tremendous documentary showcasing the conversations of two more publicized film experts with 2005’s HITCHCOCK/TRUFFAUT. In other words, he’s a man who loves cinema and has both a trained eye and an instinct for what makes a film worth watching.

Mary Kay Place (THE BIG CHILL, 1983) is Diane. Our first reaction upon seeing her is that she has the well-worn, hangdog look of a woman burdened by life. As we follow her around, we soon learn that’s very true and that there is even more to her story. Diane is the kind of person who, rather than keep a list of things to do, keeps a list of people for whom she has to do things. And there are many on her list. Chief among these are her dying cousin Donna (Diedre O’Connell) and her drug-addicted son Brian (Jake Lacy). The self-imposed penance Diane pays all day each day stems from a story referred to as “The Cape” … a long ago act of betrayal and indiscretion that has clung to Diane ever since.

The rest of the cast is filled with faces you’ll recognize (and names you can’t recall), many for their work in the 1960’s, 1970’s and 1980’s, including: Estelle Parsons (Best Supporting Oscar winner for BONNIE AND CLYDE, 1967), Andrea Martin (MY BIG FAT GREEK WEDDING, 2002), Joyce Van Patten (sister of Dick, ST ELMO’S FIRE, 1985), and Glynnis O’Connor (ODE TO BILLY JOE, 1976). But don’t mistake this for some nostalgic tribute – each of these women offer up exactly what’s needed for their respective characters. It’s a joy to behold their work – and easy to take for granted.

This little Massachusetts community is tight-knit and speaks freely on the lives of each other. There are few secrets. Everyone asks Diane about Brian – her son that lies to her face, acts perturbed when she tries to help, forces her to listen to bible-thumping, and finally comes clean on why he’s treated her the way he has. Filmmaker Kent’s first narrative feature is an organic character driven story about aging, carrying a burden, striving to make amends, and suppressing true feelings by constantly serving others. When Diane writes in her journal, “My loved ones are gone and I’m left to be”, it takes her (and us) closer to her soul than any soup kitchen possibly could. Casserole dishes can only heal so much, and a lead role for a respected actress serves us all.

watch the trailer:

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Posted by David Ferguson

DUMBO (2019)

March 28, 2019

 Greetings again from the darkness. Generally speaking, I’m not a fan of Disney’s commitment to live action remakes of so many of their animated classics; however, I’ll readily admit that teaming the always creative Tim Burton with every child’s favorite pachyderm piqued my interest. In case you don’t recall, Disney’s fourth animated feature film was released in 1941, and told the story of a baby elephant who could fly thanks to the flapping of his enormous ears. DUMBO was, at its core, a story of how being different can cause you to be an outcast, while also delivering the strength to overcome those who might treat you poorly or look to profit at your expense. It was a sweet and simple message delivered in a brief 64 minutes.

Taking up almost another hour, filmmaker Burton and screenwriter Ehren Kruger seize the original book by husband and wife writing team Harold Pearl and Helen Aberson and deliver a story that is anything but simple. Rather it’s complicated, convoluted and at times nonsensical. What does work is the visual splendor of watching a cute little elephant fly around a circus … first a tattered old-timey tent camp and later a futuristic amusement park.

It takes only about 30 seconds for us to recognize the silver screen stylings of Tim Burton. The ragged train cars in need of paint followed by the black smoke from Casey’s ‘smiley’ face engine, all point to the familiar visuals that harken back to Mr. Burton’s memorable films like FRANKENWEENIE, BEETLEJUICE, BATMAN, EDWARD SCISSORHANDS, BATMAN RETURNS, CORPSE BRIDE, and ALICE IN WONDERLAND (to name a few).

It’s 1919 as the train clackety-clacks from Sarasota, Florida through small southern towns and up to Joplin, Missouri, where youngsters Milly (Nico Parker, lookalike daughter of Thandie Newton) and Joe (Finley Hobbins) give a hug to their father Holt Farrier (Colin Farrell). Holt has been away serving in WWI, and returns minus one arm and one wife … while he was at war, she lost her battle to illness, leaving the children in the care of the circus performers. Holt and his wife used to be featured performers in the Medici Brothers Circus run by Max Medici (Danny Devito), but times are tough and Holt is assigned to elephant-tending duty, where Max has recently purchased a pregnant Mrs. Jumbo elephant.

We don’t have to wait long for the baby to arrive, be called a “freak” by Max, learn to fly, be separated from his mother, and be targeted by a greedy amusement park owner named V.A. Vandevere (Michael Keaton). Vandevere’s Dreamland has some familiar Disneyland elements, and serves it purpose for reminding us that traditional circuses are being replaced by high tech amusement parks – an environment more in line with today’s youth.

Where the film suffers is with its unnecessarily complicated story and underdeveloped characters. The usually reliable Mr. Keaton never really kicks in as the greedy and evil amusement park owner. Mr. Devito mostly yells his lines, and Mr. Farrell just seems categorically miscast. In what is the first film for both, young Ms. Parker shows flashes of talent, while Mr. Hobbins is given next to nothing to do. Eva Green does bring a welcome element as aerial artist Colette, but Alan Arkin’s role as a banker seems tacked on as a favor. Unfortunately we barely get to know the circus troupe, though Miss Atlantis (Sharon Rooney) strums her ukulele as she sings “Baby Mine”, the Oscar nominated song from the 1941 original, penned by Ned Washington and Frank Churchill. Adding to the Burton oddities, Michael Buffer makes an appearance as ring announcer … albeit a different ring than what he is most often associated with.

It likely won’t surprise you that Mr. Burton delivers a film much darker than the original, and at least he avoided the temptation of talking animals (the legendary Mel Blanc voiced Dumbo in the original). He does offer up a nod to the Pink Elephant sequence from the original, as well as the presence of mice … though wisely no crows this time around. Danny Elfman’s score is a perfect fit (as usual) and Oscar winning Set Designer Rick Heinrick (SLEEPY HOLLOW) works his magic, as does 4-time Oscar winning Costume Designer Colleen Atwood (ALICE IN WONDERLAND). The technical mastery of the film is finalized with the work of Cinematographer Ben Davis, whose work on such grand scale films as CAPTAIN MARVEL, DOCTOR STRANGE, AVENGERS: AGE OF ULTRON, and GUARDIANS OF THE GALAXY allows him to make the best of the visuals, even while the story disappoints. There is a contemporary message delivered near the end regarding the captivity of animals, and despite the dark, overly complicated story, it’s still quite fun to watch Dumbo fly.

watch the trailer:

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Posted by David Ferguson

THE AFTERMATH (2019)

March 28, 2019

 Greetings again from the darkness. It’s 1945 on the heels of the Allied forces victory in WWII. British officer Lewis Morgan is charged with overseeing the military’s role in beginning the process of returning a sense of normalcy back to Hamburg (and assisting with hunting Nazi loyalists). He is joined there by his wife Rachel, and they are to occupy a beautiful mansion that has been “requisitioned” from a German architect and his daughter. Captain Morgan makes the unusual offer of having the man and his daughter remain in the house, rather than relocate to one of the dreadful camps, where food and privacy is scarce. Here’s a tip gentlemen: never invite Alexander Skarsgard to live in the same house as your significant other.

Captain Morgan is played by Jason Clarke, and his wife Rachel by Keira Knightley. The aforementioned Skarsgard is Stephen Lubert, and Flora Thieman plays Freda, his rebellious teenage daughter. On her train ride in, Rachel hears a young girl discussing the rule of “no fraternizing” with the German people. Of course, we know (even if Rachel doesn’t know yet) that it’s not the little girl who is going to break this rule. An awkward reunion for Morgan and his wife indicates something is amiss. We soon learn that their young son was killed 4 years prior in a bombing – a hardship they share with Mr. Lubert, whose wife was also killed during the war. Clearly the loss of her son still impacts Rachel to the point that she rarely finds a moment of happiness.

If this was a “Seinfeld” episode, this is where ‘yada, yada, yada’ would be inserted, letting us know that a tryst between Lubert and Rachel occurs while husband Morgan is out on duty, and that romp brings her instantly back to life … with smiles and piano playing. This little lovefest is contrasted with the rubble of Hamburg. The city is literally in ruins. The visuals are impressive, but we never get a feel for the challenge of rebuilding infrastructure and lives. Instead, we get more forbidden love.

Director James Kent is known mostly for his TV work, and the film is based on the novel by Rhidian Brook, who co-wrote the screenplay with Joe Shrapnel and Anna Waterhouse. It would be a mistake to assume, given the outstanding three lead actors, that this is a prestigious WWII drama. An accurate description would be ‘soap opera.’ The set design, costumes, and cast are first rate, but the direction, script, and editing scream soap opera. I believe my final count was 12. That’s 12 shots of someone gazing out of a window … train windows, car windows, house windows, bus windows … every window gets its shot of winsome gazing. It’s best you know going in to expect a soap opera … not that there’s anything wrong with that.

watch the trailer:

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Posted by David Ferguson

HOTEL MUMBAI (2019)

March 28, 2019

 Greetings again from the darkness. A group of quiet and focused young men with backpacks arrive by boat and then split into taxis. We hear the calm voice being fed into their ear buds. The voice assures them that “God is with you” and “Paradise awaits.” Of course, since this is based on true events from 2008, we know the horror that is about to be unleashed by these terrorists (more than 170 killed).

This is the first feature film from writer-director Anthony Maras, and with his co-writer John Collee (MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD, 2003), we are taken to CST, the train station which is one of the 12 terrorist targets. Actual footage is mixed in, leaving no doubt as to the panic and violence that unfolded. As the individuals in the group divide into their well-orchestrated terrorist teams, we flash to the morning routine at a nearby home. Arjun (Dev Patel) is frantically getting prepared for work before heading to his pregnant wife’s place of work. He is dropping off their young child since the sitter was a no-show.

Arjun is part of the staff at the prestigious Taj Mahal Hotel Palace, affectionately referred to as “The Taj”. The service is impeccable … to the point of checking the temperature of bath water for one of the guests. Those who stay here are accustomed to and demanding of the very finest. However, on this stay, they will experience the sharp contrast of ultimate luxury and raw terror. As viewers, our guts sense the feeling of dread, even as the hotel managers and staff are welcoming arriving guests such as a retired Russian Special Forces officer turned wealthy playboy (Jason Isaacs) and newlyweds David (Armie Hammer) and Zahra (Nazanin Boniadi, “Homeland”), along with their newborn baby and nanny Sally (Tilda Cobham-Hervey).

As the cold-blooded attack is carried out by the terrorists at The Taj, we witness so many innocent people mowed down with precision – some execution style. Many hotel guests find hiding spots, including an exclusive club in the heart of the hotel. The staff, including Arjun and renowned Chef Hermant Oberoi (Anupam Kher), courageously try to survive while also protecting the guests. David and Zahra get separated from each other and from their baby, leaving the nanny desperately trying to keep the oft-crying infant from being heard.

We also witness the local police – undermanned, under-armed, under-trained – try their best to defuse the situation, knowing that Special Forces are “hours away”. Courage is on display throughout the film, but this is no Jason Bourne or John McClane scenario. These are cooks and waiters and hotel guests caught in one of the most frightening situations imaginable.

For cinematic effect, the attack seems to take place over the course of a single night, whereas the actual events were over 3 days, resulting in 31 deaths at The Taj. The level of tension is maintained throughout … it’s a well-made thriller centered on actual events and real people. The filmmakers seem to go out of their way to avoid any political, social or religious commentary or insight. We only know the terrorists are told to take American prisoners and “Go and do Jihad”. It’s described as “indiscriminate terror” and that they are reclaiming what has been taken from them over the years. It is a difficult film to watch, though we understand there will always be bad people doing bad things for what they believe are the right reasons. Fortunately, there will also always be courageous and good people. More than once we hear the staff mention “Guest is God” … but not all of these guests were welcome.

watch the trailer:

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Posted by David Ferguson

THE HIGHWAYMEN (2019)

March 28, 2019

 Greetings again from the darkness. Setting one’s film up to be compared to a long time classic can be quite challenging for a filmmaker, but that’s precisely the situation director John Lee Hancock finds himself. Known for crowd-pleasers like THE FOUNDER, SAVING MR BANKS, and THE BLIND SIDE, Mr. Hancock delivers a Netflix film destined to face off against Arthur Penn’s 1967 classic BONNIE AND CLYDE. Where the earlier film focused on the anti-hero celebrity (and beautiful faces) of the young outlaws, this latest film flips the lens and puts law enforcement (particularly grizzled veterans) front and center (Bonnie and Clyde are barely glimpsed until near the end).

The film begins with a well-planned and deadly prison break in 1934 and then moves into a meeting where Lee Simmons (John Carroll Lynch) of the Department of Corrections is pitching Texas Governor “Ma” Ferguson (Kathy Bates) on his idea of reactivating the defunct Texas Rangers, and bringing legendary lawman Frank Hamer out of retirement. It’s pretty simple – the FBI and its new-fangled forensics is failing miserably in tracking down Bonnie and Clyde, and the hope is that Hamer and his old-fashioned detective work will succeed.

Kevin Costner plays Frank Hamer, and we first see him and his well-trained pet pig trying to enjoy a peaceful retirement at home with his wife Gladys (Kim Dickens). Not long after, he’s joined by his old partner Maney Gault (Woody Harrelson), who is down on his luck, drinks too much, and is in desperate need of a purpose. Thus begins the buddy road trip featuring the no-nonsense Hamer and the quipster Gault. Not many play self-importance better than Costner, and few deliver wisecracks better than Woody.

The screenplay comes from John Fusco, whose previous western projects include HIDALGO and YOUNG GUNS. Though this isn’t a traditional western, it has most of the expected elements. Aging lawmen chasing colorful outlaws. Good versus evil. Right versus Wrong. While it’s a relief the film doesn’t romanticize the Barrow gang and their violent ways, it’s a bit frustrating to see that the movie tries to make Hamer and Gault as famous and iconic as the outlaws they were chasing. Sure Bonnie’s fashion influenced many women of the era, but that had to be nauseating for those lawmen in pursuit who were putting their lives on the line. In the 1967 film, Denver Pyle played Frank Hamer in a shamefully written role, and here Costner strikes so many hero poses and seems to invoke mystical ESP abilities in his police work, that we half expect Hamer to walk on water at some point.

The best part of the film is watching Costner and Harrelson work together, with the latter really making this work on whatever level it does. Additionally, there is a scene with Hamer and Clyde’s dad that features William Sadler in a cameo. I don’t know if this meeting actually took place in real life, but it teases what the film could have been. As a fantasy for cinema aficionados, the project was originally intended to be a vehicle for Robert Redford and Paul Newman, but just never progressed. Combine that with BUTCH CASSIDY AND THE SUNDANCE KID and THE STING, and you’d have an unmatched triumvirate of buddy greatness. Hancock’s film certainly pales in comparison to the 1967 film, but it’s a worthy story that deserves to be told.

available on Netlix March 29, 2019

a few years ago, I posted one of my revisited articles on BONNIE AND CLYDE (1967). You can check that out here: https://moviereviewsfromthedark.com/?s=bonnie+and+clyde

watch the trailer:

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Posted by David Ferguson

THE PRICE FOR SILENCE (2019)

March 28, 2019

 Greetings again from the darkness. Kira is startled from slumber by a horrendous nightmare – a flashback to a years ago night when she was sexually abused. Her partner in bed knows nothing of Kira’s vision, only that she’s been violently pushed from bed, which is not her preferred morning method of waking up. As the story from filmmaker Tony Germinario unfolds, we learn more about Kira and the background that has her deservedly bitter.

Lynn Mancinelli (she also starred in Germinario’s film BAD FRANK) plays Kira and does a pretty nice job of allowing us to understand the reasons for her dramatic mood swings. Even her sessions with her therapist are twisted … a recurring theme in Kira’s life. When she returns home for the funeral of her father, it’s obvious her relationship with her mom (Kristin Carey) is distant at best, though she does seem to connect with her gay-artist-recovering addict younger brother Lucas (Emrhys Cooper).  As with most other relationships in her life, this brotherly love may not be as solid as we are initially led to believe.

The small town where she grew up, and where mom and brother still live, is controlled by Richard Davenport (played by Richard Thomas) and his son Alden (Jon McCormick). While Richard presents himself as a charitable friend of the family, Kira’s history with the Davenports generates something much deeper than mere bad feelings. Her hatred of the Davenports drives a further wedge in the broken relationship with her own mother – a mother oblivious to family secrets. Those secrets were kept in order to “protect” the mother, though it has created a kind of house of cards.

Kira is a raging alcoholic and her actions have caused pain and disruption to many others, but once we learn the whole story, her actions seem acceptable while the actions (or lack thereof) of others seem inexcusable. The pieces of this film that are worth watching are the performance of Ms. Mancinelli and the way Richard (John-Boy Walton) hides his true personality from others. It’s a low budget film with atrocious make-up, uneven editing, and camera work that doesn’t complement some of the scenes. As a statement for how sexual abuse can wreak havoc on the victim and their relationships, it makes an admirable point. As cinematic viewing, it’s tough to recommend.

watch the trailer:

 

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

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