Greetings again from the darkness. A twenty-something New York City millennial is having an other-side of-the-globe phone conversation with her Chinese grandmother. It’s immediately clear that, despite the geographic gap, these two share a close bond. We also witness the stream of lies each of them cheerfully spouts off within a few minutes. This is the opening scene to writer-director Lulu Wang’s semi-autobiographical film … a film we are warned is “based on an actual lie.”
The millennial is China born and New York raised Billi (Awkwafina). When her parents (Tzi Ma and Diana Lin) tell her that her Grandmother (affectionately known as Nai Nai) has been diagnosed with Stage 4 cancer and has only months to live, Billi is stunned. More shock follows when Billi learns that the family has decided not to inform the family matriarch that she’s dying, and even more shock when Billi’s parents inform her that they are going to China for a final visit, but Billie is not invited, given her American tendency to wear her emotions on her sleeve.
To tell or not to tell? That is the question. If you were terminal, would you want to know? Well evidently in China, that’s a question the family can answer on your behalf. Philosophically speaking, is this a cultural or personal question? Your background likely determines your answer. Billi is experiencing a true Yin-Yang ordeal. Is it selfish on her part to want to be able to say goodbye to Nai Nai, or is it selfish on the part of the family to avoid that pressure? We are informed that in China, each person is a part of the whole – the family and the community.
Since all of that sounds so ominous and depressing, you should know that the film does a marvelous job of balancing the dramatic with the comical. Laughs are aplenty. The comedy comes from both old and young characters. It’s fascinating to see how director Wang explores Chinese family dynamics while also exploring cultural differences – never offering judgment on right and wrong. She often has multiple people in her shots – the frame is typically filled with many faces, making it a challenge for viewers to take in all of the nuances and reactions.
With so many characters, it’s crucial that we quickly understand the make up of each. That said, the ensemble cast is deep and terrific. The most surprising comes from the hilarious, touching and grounded performance of Shuzhen Zhau as Nai Nai, in what apparently is her first ever on screen appearance. She can be the warm grandmother poking fun at her granddaughter’s independent life, or the fully-in-charge woman demanding satisfaction from a local vendor. Her scenes with Billi are the true heart and soul of the film. Awkwafina (also a rapper) was fun in CRAZY RICH ASIANS, but here she flashes talent that no one saw coming. It’s a textured performance worthy of awards consideration.
Despite how personal the story and the characters are to Ms. Wang, her film never dips into sentimental overload or cultural preaching. She also avoids the farcical nature of a film such as DEATH AT A FUNERAL. Instead, she maintains a nice balance between drama and comedy, grief and guilt, and love and respect for tradition. The clichés are lacking, but heart is prevalent. Little wonder this was an Audience Award winner at Sundance. It’s a film that’s going to touch many.
Greetings again from the darkness. Hippies, westerns, short skirts, pompadours, catchy pop songs … all have (mostly) disappeared from our world. Back to save the day and the memories, and twist a little history, is Quentin Tarantino, the ultimate film geek. His latest reminds us of a bygone era of movie stars and old school filmmaking … a once beloved industry which has been described as being on life support. There have been plenty of big screen love letters to Hollywood, but few if any, were filmed with so many personal touches and call-backs to the director’s own films.
In keeping with the request from Mr. Tarantino, this review will not include any spoilers or details that might negatively impact anyone’s initial viewing of the film. It’s a reasonable request since the film is so unique and literally packed with nostalgia, sight gags, and historical bits and pieces – some accurate, some not so much. There is a lot to take in and process, and the full impact of the initial viewing might result in awe, shock or disgust … and maybe even all of the above. So this will be a pretty simple overview peppered with some insight that should enhance rather than spoil the experience.
The film covers about 6 months in 1969, but in reality, it all takes place (at least what we see on screen) in 3 days. Leonardo DiCaprio (possibly his best ever performance) plays Rick Dalton, an actor who had a hit (fictional) TV western series in the 50’s and 60’s entitled “Bounty Law”. Since the show ended, Rick has been unable to make the successful transition to movies. For comparison, think of Clint Eastwood, Steve McQueen and Burt Reynolds – all actors in TV westerns who found greater career success in movies. Brad Pitt (the epitome of cool) stars as Cliff Booth, Rick’s stunt double, friend, driver, handyman, etc. While Rick is desperate to find the next stage of his career and fend off being forgotten, Cliff, a Vietnam vet, is accepting of his lot in life. Rick lives in a swanky Hollywood Hills home next door to hotshot director Roman Polanski and his starlet wife Sharon Tate; and Cliff lives in a trailer behind the Van Nuys Drive-In with his well-trained Pit Bull Brandy.
There are multiple parallel stories to follow, and a key one involves the aforementioned Sharon Tate. Margot Robbie nails the role and bounces about town with the energy and sweet aura that we imagine she possessed. All 3 of the lead actors – DiCaprio, Pitt, Robbie – have knockout scenes that I’d love to be able to discuss, but I’m not sure how without giving away too much. What I can say is that each of these three talented actors prove that movie stars still exist.
This is Tarantino’s 9th film as a director (he counts the 2-part KILL BILL as one film), and he claims he will stop making films after number 10. There are multiple features we can count on in a QT film, and a ridiculously deep supporting cast is one. Going through each of the characters played by actors you will recognize would take a page and a half, so I’ll cover only a few here. Margaret Qualley is a scene stealer as Pussycat, one of the Manson family girls. You likely remember her from the recent “Fosse/Verdon” or “The Leftovers”, and here she fully embraces the hippie look and spirit. Emile Hirsch plays hairdresser Jay Sebring, one of those in the house with Ms. Tate on that fateful night, and Mike Moh plays Bruce Lee so convincingly that I was momentarily confused when he took off his sunglasses. Also making appearances are some Tarantino regulars: Kurt Russell (as a stunt coordinator and narrator), Michael Madsen (as an actor), and Bruce Dern as George Spahn (a late replacement after Burt Reynolds passed away). Others of note include Maya Hawke (Uma Thurman’s daughter), Austin Butler (recently cast in the title role of Baz Luhrmann’s Elvis biopic) as Tex Watson, Rumer Willis (Bruce’s daughter) as actress Joanna Pettet, Damian Lewis as Steve McQueen, Al Pacino as agent Marvin Schwarzs, Dakota Fanning as Squeaky Fromme, and the late Luke Perry as actor Wayne Maunder (“Lancer”). 90 year old Clu Gulager (“The Virginian”, THE LAST PICTURE SHOW) makes an appearance, and Nicholas Hammond (Friedrich from THE SOUND OF MUSIC) tears into his role with gusto as director Sam Wanamaker. There is even a TV Guide cover featuring the late great character actor Andrew Duggan (“Lancer”). Some of these, and many more, are like cameos, but it’s still fascinating to see the faces.
1969 was 50 years ago, and Tarantino does a remarkable job of recreating the look of Sunset Boulevard, Hollywood Boulevard, Cielo Drive, and studio backlots. Much credit goes to Production Designer Barbara Ling and Set Decorator Nancy Haigh (frequent Coen Brothers collaborator and an Oscar winner for BUGSY). Arianne Phillips does a tremendous job with the costumes that look natural for the time period, and not like something right off the wardrobe racks. Three-time Oscar winning Cinematographer Robert Richardson (HUGO, THE AVIATOR, JFK) is back for his 6th Tarantino film, and he captures the look and feel and vibe of a time that is so personal to the director.
It’s been three and a half years since THE HATEFUL EIGHT, Tarantino’s most recent film, and probably his worst received. This one is clearly personal as it captures the time and place that he fell in love with movies. The dichotomy of rising starlet and fading cowboy as neighbors is a brilliant way to make a point about times changing. This was a time of transition in the United States – a new culture was upon us, and whatever innocence remained, was surely snuffed out on a hot August night in 1969. As usual, his use of music serves a purpose. We are treated to Roy Head, The Royal Guardsmen, and Paul Revere and the Raiders, among others. QT also shows us plenty of bare feet (another trademark). What is unusual is that the film lacks the trademark mass dialogue. This one kind of meanders … right up until it doesn’t.
Quentin Tarantino is a living, breathing film geek (that’s a compliment) who has earned the right to make the movies he wants to make. This one took him a lifetime to live, 5 years to write, and it will take you 161 minutes to watch. It was warmly received at Cannes, but no one can expect to “catch” everything Mr. Tarantino has served up in one viewing. That said, one viewing will likely be one too many for quite a few folks (especially many under 40 who have no recollection of this Hollywood). Some will categorize this as an overindulgent nostalgia trip for movie nerds. And they are likely correct. But for those of us who complain that too many movies are remakes, re-treads and comic books, there is no denying Tarantino delivers a unique and creative viewing experience – and it’s not meant for everyone.
Greetings again from the darkness. This special screening included a simulcast of the Red Carpet arrivals at the Brooklyn Alamo Drafthouse hosted by Eric Davis of Fandango, and the broadcast went to many cities around the U.S. What immediately struck me from the interviews with writer-director Riley Stearns and co-stars Jesse Eisenberg and Alessandro Nivola was how carefully they chose their words in describing the story and their characters. It was clear what we were about to watch was not just another acting gig, and certainly not some mainstream mush. According to those involved, this was something altogether different.
Casey Davies (Eisenberg) is a corporate accountant. He’s a meek guy. Casey is an outsider at work, and has no social life beyond his TV and devoted dachshund (because a poodle would be too obvious). To put it bluntly, he’s a lonely guy. One evening, whilst walking back from the grocery store to buy dog food, Casey is mugged and brutally attacked by a motorcycle gang. This leaves Casey not only alone and battered, but also afraid. His decision to buy a gun gets sidetracked when a local dojo catches his eye. He’s drawn to the whispered guidance of the Sensei (Nivola), and the confidence and power derived from the self-defense skills being taught.
Filmmaker Stearns takes on toxic masculinity in a subversive and satirical manner. His dark comedy is played straight by the participants, putting viewers in a state of awkward laughter and uncertain reactions to what we are witnessing. It’s both exaggerated and nuanced, as there are informative subtleties in both the dialogue and the mannerisms of the characters. Imogen Poots plays Anna, perhaps the most interesting character in the film. She’s a talented brown belt frustrated by her Sensei’s unwillingness to award her with a much-deserved black belt. Instead, she is relegated to teaching kids’ classes, and only gets to shine in the mysterious night classes. It’s a shame this role wasn’t expanded to take advantage of Ms. Poots’ talent.
Ah yes, the night classes. Participants must be personally invited by Sensei, and it’s here where Casey finally begins to understand the dark forces at work. Henry, played by David Zellner (co-producer with his brother Nathan) is so desperate for Sensei’s stamp of approval that he makes the tragic mistake of attending night class without being invited. The violence in the film elevates quickly.
We witness the changes in Casey as he gains confidence, and the many transitions in his life take the form of shifting colors, foreign language and music. Misogyny and toxic masculinity were also addressed in the recent action-comedy STUBER, but here, Mr. Stearns’ voice challenges us to analyze what we are laughing at. Nivola’s Sensei is simultaneously funny and frightening, and demented and enlightened. The insecurities that accompany the male ego are contrasted with the extra hurdles women must clear to be accepted as equals. These people could possibly be caricatures, but possibly not. There is much confusion over how to be a man in today’s world – what it means, how to act, how to control sparks of aggression, how to prevent the misuse of power. We watch as Casey becomes so similar to those he so despised. We also learn that the Alpha male may not be male after all. These are some serious topics buried within the lesson of “kick with your hands and punch with your feet.” It’s an offbeat film presented in a way that makes us sit up and take note.
Greetings again from the darkness. For us baseball fans, seeing the sport on the big screen can be bliss (THE SANDLOT, 1993) or extreme torture (ED, 1996). Actually, with any sports movie, the pressure is on the filmmakers and cast to be respectful to the talent and athleticism required to play that game. When they succeed, it can be a wonderful blend of movie and sport. When they fail, it can be maddening … a cinematic version of fingernails on a chalkboard.
Director Raymond De Felitta delivered an excellent (and underappreciated) little gem in 2009 entitled CITY ISLAND. This time out he’s working from a script by Robert Bruzio (his first feature film screenplay). It begins with Sonny Stano (played by Joseph Manganiello) being released from Sing Sing Prison. He has served nearly two decades (since 1999) after accidentally killing someone just after signing a big contract with the New York Yankees right out of his Bronx high school … in the shadow of historic Yankee Stadium. See, Sonny was a baseball legend in the area – a “sure thing” to become the next Yankees legend. He even has a Mickey Mantle jersey mounted on the wall of his childhood apartment, alongside numerous pennants, trophies and sport photographs.
All those years ago, Sonny left behind not only baseball, but his high school sweetheart Angela (Sofia Vergara), who is now a single mom raising her young daughter. Of course, once Sonny and Angela bump into each other at the market, we know where this is headed. Just like we know where it’s headed when Sonny’s old Coach Hannis (Michael Rispoli) invites him to help out with the local Yankees minor league affiliate … in particular, a young hot shot player who is mouthy and uncoachable. Along the way, we also see Sonny’s Parole Officer (Denis O’Hare, in a “True Blood” reunion with Manganiello) and Angela’s less-than-welcoming cop/brother (Yancey Arias). They don’t call them stereotypes for nothing. It is nice to see Burt Young appear as a grizzled baseball scout, and fortunately Brian Cashman and Bernie Williams are the only Yankees who make a cameo appearance (awkwardly with no dialogue).
The idea is strong enough to work as an inspirational, second-chance-in-life sports movie; however, it all falls apart once Sonny hits the diamond. He moves like a weightlifter, not a ballplayer. His swing, supposedly capable of mashing pitches into the stratosphere, looks no different with a bat than with the sledge hammer he uses in one scene. The throwing motion is even more cringe-inducing. Still, we have been known to overlook such things in movies if there is a real life lesson. Unfortunately, despite his scenes reconnecting with Angela, we never find Sonny very likeable or easy to root for. Reading “King Rat” (James Clavell’s debut novel about his time as a POW) and wanting to take a business class is not enough to overcome the fact that he immediately quits the job that his friend gave him … the same friend who helped him get paroled. Plus, Sonny wears a constant scowl and tries to lecture, rather than lead, the prodigy he’s been assigned.
The fictional Staten Island Empires are a joke to watch, and it’s ludicrous to believe Sonny would catch the Yankees’ attention while taking BP for them. The scenes that do work are the quiet moments between real life husband and wife Mr. Manganiello and Ms. Vergara. Their scenes, while a nice reprieve from the clumsy baseball ones, are simply not enough to inspire us or give us reason to cheer the obvious and easy-to-predict developments. And another thing … why is it always the Yankees?
Greetings again from the darkness. If you have come here to read yet another take on how this next-gen remake of a beloved film doesn’t bring anything new to the story, you’ve come to the wrong place. I love cinema as an art form, and when analyzing a movie, I typically look for the good and enjoyable, rather than focusing on every element I might be able to criticize … never forgetting that the on screen presentation is the culmination of work performed by many dedicated people so that I might sit back in a comfy seat within the confines of an air-conditioned theatre and be entertained for a couple of hours. And entertained I was.
It only takes a few moments for the awe to set in. The look is at times so realistic that kids may actually believe animals can talk. More than once the fur of an animal or the splash of the river reminded of a National Geographic program with ultra-High Definition photography. So let’s clear up something right now. This has been labeled as a “live action” remake of the animated classic from 1994. You should know, even if your eyes tell you otherwise, that there is nothing “live” in the film. Instead, everything you see on screen is computer-animated/generated. No, the lions and elephants aren’t real and neither are the trees or distant mountains. The look of the film is as revolutionary as when the first TOY STORY stunned us in 1995. We had never seen animation like that then, and we’ve never before seen computer effects like this. What is familiar are two early songs, “The Circle of Life” and “I Just Can’t Wait to be King”.
Of course, neo-realism can be admired only as a technical achievement when we are discussing a movie in which lions talk and warthogs sing. So while we marvel at the technical achievement, let’s not lose sight of the story … what made the original so popular and beloved 25 years ago. Although it’s approximately a half-hour longer than the original, this one is exceedingly close to a scene-for-scene remake. Only minor tweaks will be noticed, mostly in the demeanor of Scar and the banter between Pumbaa and Timon – each actually improving on the first film. What remains is the coming-of-age story that will now touch many new hearts and minds.
Kids will be immediately entranced with the cubs, Simba and Nala, voiced by JD McCrary and Shahadi Wright Joseph (the daughter in Jordan Peele’s US), and with Zazu (voiced by John Oliver), the goofy and comical bird tasked with keeping an eye on the two adventurous youngsters as they get themselves into trouble. James Earl Jones (now 88 years old) reprises his iconic voice role as the wise Mufasa, and Alfre Woodard voices Sarabi, the pride’s leading female. Chiwetel Ejiofor is excellent as the bitter Shakespearian villain Scar, but I couldn’t help but wish Jeremy Irons had returned for this interpretation of the jealous and power-hungry brother of Mufasa.
The energy level jumps once Simba meets Pumbaa the warthog and Timba the meerkat. Seth Rogen and Billy Eichner take the comedy routine to a new place, and we can only assume much of their banter is off-script. Kids may not get every joke, but they are sure to respond to this odd couple. Donald Glover and Beyonce voice the grown Simba and Nala, and both are outstanding – especially with their singing (no surprise there). Nala’s role is expanded a bit … as expected when you cast Queen Bey. Her original song “Spirit” is included but it’s her duet with Glover on “Can You Feel the Love Tonight?” that is a real musical standout.
Director Jon Favreau has been in the chair for such hits as IRON MAN 2 (2010), IRON MAN (2008), and ELF (2003), and he was also behind Disney’s live-action remake of THE JUNGLE BOOK (2016). The writing credits belong to Jeff Nathansan (CATCH ME IF YOU CAN, 2002) for the screenplay, Oscar winner Brenda Chapman (BRAVE, 2012) for the story, and Irene Mecchi, Jonathan Roberts, and Linda Woolverton for the characters. The latter three were among the 28 writers credited for the 1994 version. Also back is composer Hans Zimmer, who won an Oscar for his 1994 score, and songwriters Elton John and Tim Rice, also Oscar winners for their 1994 song, “Can You Feel the Love Tonight?”.
The beloved 1994 version didn’t win the Oscar for Best Animated Feature film because the award didn’t exist until 2002; however, it did spawn the 1997 Broadway smash musical. This more realistic version is rightly rated PG rather than G, as some of the scenes are likely to be a bit intense for younger viewers. And it’s important to remember that this version is meant to bring Simba’s story to a whole new generation – it’s not meant to replace the 1994 version for those who were kids when it came out so many years ago. The story and characters, while familiar to those age 30 and up, will be a whole new viewing experience for today’s kids. So while we may prefer the 1994 animated version, kids today will likely be enthralled by this updated look. And we all better get used to it, because Disney has 18 more “live action” remakes in the works (some of which will actually be “live” action).
Greetings again from the darkness. Lynn Shelton has put together a very successful career that began with her contributions to the early days of mumblecore (Andrew Bujalski, the Duplass brothers, et al). Along with her filmmaking, she has mixed in some fine TV work, including multiple episodes of “GLOW”, “Fresh Off the Boat”, and “New Girl”. This time out, with a script she co-wrote with Mike O’Brien, she stays true to her offbeat roots and love of characters with character.
There is a story here, and in fact, it was the synopsis that contributed to me agreeing to review this one … well that, and the previous work of Ms. Shelton. Cynthia (Jillian Bell) and her partner Mary (Michaela Watkins) have returned to Alabama with the expectation of inheriting Cynthia’s grandfather’s house. Instead of the house, Cynthia instead walks away with an antique sword, whose accompanying drawing and handwritten letter supposedly prove that the South won the Civil War.
A visit to Mel’s Pawn Shop begins the process of finding a buyer for the sword. Cranky Mel is played by Marc Maron, best known for his stand-up comedy. As a shop owner, he seems constantly annoyed by his dim bulb employee Nathaniel (Jon Bass). The two couldn’t be more different, as Nathaniel spends his work days plugged into conspiracy podcasts (including one run by the film’s co-writer Mike O’Brien in a quick cameo). However, it’s Nathaniel that discovers the “truthers” who believe the ‘South won the war’, and are the best possible fit as buyers for Cynthia’s sword.
Director Shelton makes an appearance as Deirdre, Mel’s former lover. As a couple, their rocky history includes significant drug use and little contribution to society. Also appearing is Toby Huss as Hog Jaws, the oddball middleman involved with the sword transaction. “Seinfeld” fans will recall Mr. Huss as “The Wiz” from that popular show.
This is a deep cut indie, and the humor will either appeal to you or you’ll find it absolutely absurd (or maybe both). The entertainment is derived from the ‘little’ moments and the manner in which the characters interact. It appears many scenes were improvised, a trait of early Shelton projects, and with such talented comedy actors, it’s no wonder. The offbeat story simply exists to give these actors a reason to be funny … something they do quite well.
Greetings again from the darkness. Summer movies are traditionally tentpoles and teen flicks … big budget action movies and those aimed at an audience that are on a 3 month reprieve from school. We are quickly learning that rising star filmmaker Ari Aster cares little for tradition. Well at least he seems to thrive on twisting tradition and spinning off in an unusual direction. His feature film debut was last year’s mega-hit HEREDITARY, a horror film which was noted in most every critics association Top 10 list for 2018.
HEREDITARY was filled with darkness and dread, and Mr. Aster’s second film begins with a similar setting: it’s a dark and cold night as Dani (Florence Pugh, LADY MACBETH) frantically searches for her bi-polar sister through emails and phone calls. During her search, we realize that her relationship with boyfriend Christian (Jack Reynor, SING STREET) is a bit strained. The brilliant pre-credit sequence results in a horrific tragedy striking Dani’s family. Christian does his best to offer support, but he’s a typically weasel of a man who feels more at ease hanging out with his grad school buddies than providing love and compassion to his needy girlfriend … and he’s not man enough to tell her, despite the urging of his friends.
An awkward group conversation leads Dani to accept an invitation to go on the boys’ trip to Sweden. The purpose of the trip is twofold: to participate in a 9 day long village festival held every 90 years and for Josh (William Jackson Harper, “The Good Place”) to work on his thesis. The other guys in the group are Pelle (Vilhelm Blomgren) whose family in Sweden is hosting the festival, and Mark (Will Poulter, THE REVENANT) who provides much of the comic relief thanks to his overall cluelessness about pretty much everything related to graceful societal interactions.
And with that set-up comes one of the most deranged, unsettling and bizarre movie experiences this year (or most any year) is likely to bring. Try to picture a Folk Horror Comedy Fairy Tale Break-up Pagan Cult film, which at any given time reminds of MOTHER!, THE WICKER MAN, THE WIZARD OF OZ, THE VILLAGE, SUSPIRIA, and a handful of other cinematic oddities we’ve seen over the years. It is quite likely the sunniest horror film you’ve ever seen. And that’s a literal description … like the production could have been solar-powered. Most of it is filmed outside during Sweden’s Midnight Sun – constant sunshine accompanied by mostly bright white skin and even brighter white cotton costumes (embroidered as if meant for Woodstock). The daylight messes with your senses and expectations. Bad things are supposed to happen in the dark, not in broad daylight enveloped by picturesque wonders of nature. Although the opening is cold, dark and punctuated with tragedy, the rest is so bright, it almost blinds you to the atrocities on screen.
So without giving away anything, here’s what we are in for: a welcome to Sweden mushroom trip, a Waco joke, a caged bear, a sacred tree, a Powerball game you hope to lose, and flowers and trees that seem to breathe. We also are reminded not to forget the birthday of our significant other, living to age 72 is not really rewarded in this commune, and no one should ever dance till they drop – even to be named the Queen of May. Of course, as with most horror films, it’s easy to sit back as viewers and question the decision-making of the characters, but it’s not like they realize they are in a horror film … at least not until it’s too late!
Ms. Pugh (who reminds of another talented young actress, Haley Lu Richardson) is terrific here. Her character experiences shock, personal grief, a strained relationship, hallucinations, and a shot at revenge. The excellent music from Bobby Krlic, better known as The Haxan Cloak, is a mix of compositions and songs that create the mood for each character and scene. I was so shell-shocked at the end, that I’m unable to confirm that the version of “The Sun Ain’t Gonna Shine (Anymore)” is that of The Walker Brothers (Scott Walker died earlier this year) or that of another band. Director Aster’s second film proves the exaggerated and diverse spectrum of what constitutes a horror film, and cinematographer Pawel Pogorzelski’s disorienting camera work perfectly complements a rare cinematic blend of frightening and funny. The cheery faces and pastoral beauty very nearly distract us from what might be the ugliest break-up movie ever.
Greetings again from the darkness. There have been some fine movies centered on death row. These include: THE GREEN MILE (1999), DEAD MAN WALKING (1995), THE LIFE OF DAVID GALE(2003), and TRUE CRIME (1999). The only one I can remember that even comes close to also being a love story is MONSTER’S BALL (2001), and if you’ve seen it, you would likely agree that it’s not exactly a warm and fuzzy story of romance. With this latest, however, Israeli director Tali Shalom-Ezer and British writer Joe Barton combine for a romantic story where death row plays a vital part.
Ellen Page stars as Lucy. She travels around the country in a well-worn motorhome with her older sister Martha (Amy Seimetz, UPSTREAM COLOR) and their little brother Benjamin (Charlie Shotwell,CAPTAIN FANTASTIC), as they partake in the anti-death penalty demonstrations outside the prison gates as the next execution takes place. Across the parking lot, the pro-death penalty side hold their own signs and keep their own vigil. Lucy’s eyes lock on those of a striking young woman from the other side. When they meet, the ironically named Mercy (Kate Mara) aggressively flirts with the shy and confused Lucy, and the two sneak out for drinks at a bar.
Soon Lucy is anxiously awaiting the next protest so that she can meet up with Mercy. The sexual tension builds as they get to know each other, and their awkward friendship turns romantic. Their activism for different sides of an important topic doesn’t have any negative impact on their attraction to each other. Each woman has been personally affected by the death penalty, and as viewers we struggle with the idea that these two lovebirds part each time with what amounts to ‘see you at the next execution!’
Elias Koteas (TEENAGE MUTANT NINJA TURTLES, 1990) plays Lucy’s death row dad, and Brian Geraghty (THE HURT LOCKER) plays the attorney who is simultaneously working on his case and on Lucy’s sister Martha. The acting here is top notch as Kate Mara balances the two sides of Mercy, and Ellen Page flashes her familiar JUNO snark – albeit with the heft of a wisened adult. Ms. Seimetz adds to her list of always-interesting characters, and has a couple of truly outstanding scenes.
Blending love and the death penalty makes for an unusual combination, and we do understand that folks choose their side based on personal belief and circumstances. For the film, the death penalty issue is a bit of a distraction to the story of these two people, though it’s admirable that Mr. Barton chose to give them a personal stake in two different cases, rather than the same – which we would expect in a lesser movie. The use of “last meals” is quite creative, as we see the actual food, as well as the name of the inmate, the crime, and the prison.
The fallout from executions is widespread. Perhaps no one wants a narrative film focused entirely on such a depressing and divisive topic. We do ask ourselves if a romantic relationship is even possible for two who are diametrically opposed on such an emotional topic. It’s an ending that lets no one off the hook easily. Life is hard. So is death. Make your choices wisely.
Greetings again from the darkness. Quick … name all of the female Country music singers from Glasgow, Scotland! Yep, that unicorn is the premise for this film from director Tom Harper and writer Nicole Taylor, both best known for their British TV work. Rose-Lynn Harlan (played by Jessie Buckley) 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 obstacles to 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. Ms. 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 be a mother to her kids. The scenes with Rose-Lynn and her kids are devastating, as she has no parenting instincts, and is solely focused on herself.
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 to clean house 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, and it quite comfortably fits into the “crowd-pleasing” category. “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. Either way, look out for Ms. Buckley.
** I saw this at the 2019 Dallas International Film Festival, and it’s now getting a theatrical release.
Greetings again from the darkness. ”A woman who hates women”. That is how talk show host Katherine Newbury is described. Oh, and her show’s ratings have been declining for 10 years, she doesn’t even know most of her writers by sight (or name), and we are led to believe that her age has something to do with the new network executive wanting to replace her. Five minutes in, my opinion was that Katherine Newbury doesn’t like people (not just women), is basically a narcissistic jerk, and her age has nothing to do with her being replaced … it’s the fact that her show is lame, she’s not appealing to viewers, and advertising revenues drop with poor ratings. It’s called business – not sexism or gender discrimination. Never once did this seem like someone getting a raw deal. However, it’s only a movie, so I tried to play along.
Very talented actors fill the screen. Two-time Oscar winner Emma Thompson stars as Katherine Newbury, the stuck-in-her-ways, Emmy winning talk show host hanging on based on reputation and longevity in the business. Her character reminds me of David Letterman towards the end of his long run … scandal and all. Mindy Kaling co-stars as Molly Patel, a factory, err, chemical plant worker, who dreams of being a comedy writer, but puts no effort into actually learning the craft. Instead, luck puts her in the right place at the time the show needs a token hire. Enter Molly, a woman of color in a writers’ room full of white men. The interesting dynamic here is that most of the men in the room probably got their seat thanks to connections, while Molly got hers based on gender. Talent and skill seem to play no part for any of them.
The story is basically Molly trying to find her true self by helping Katherine modernize her evil ways and save her job. There are quite a few little sub-stories – can’t really call them subplots – that mostly distract from the overall direction, but serve the purpose of allowing punchlines or supposedly insightful social commentary. John Lithgow plays Katherine’s wise, Parkinson’s stricken husband, and the writers’ boys club includes Hugh Dancy (“Hannibal”), Reid Scott (“Veep”), Max Casella (“Ray Donovan”), Paul Walter Hauser (I, TONYA), and Denis O’Hare (“True Blood”). Ike Barinholtz plays the hot young comedian being groomed as Katherine’s replacement, and it’s Amy Ryan (“The Office”) who really registers as the network President. More of Ms. Ryan’s character and more attention to the network perspective would have improved the film.
Director Nisha Ganatra (“Transparent”) is working from the script by Ms. Kaling, whose real life experiences as a token hire in the industry could have been better presented. A lame stab at a romance distracts from the reactions of the threatened writers materializing in a lack of respect towards Molly, and most of the comedy felt forced and obvious, rather than real and painful (the sources of the best comedy). It’s a shame that most any episode of “30 Rock” or “The Office” provides more insightful commentary and comedy than this film. It’s such a missed opportunity.
Greetings again from the darkness. A twenty-something New York City millennial is having an other-side of-the-globe phone conversation with her Chinese grandmother. It’s immediately clear that, despite the geographic gap, these two share a close bond. We also witness the stream of lies each of them cheerfully spouts off within a few minutes. This is the opening scene to writer-director Lulu Wang’s semi-autobiographical film … a film we are warned is “based on an actual lie.”
Posted by David Ferguson 
