THE OLD MAN AND THE GUN (2018)

October 4, 2018

 Greetings again from the darkness. Jim Morrison’s lyrics, “This is the end. Beautiful friend. This is the end” have been interpreted to have many meanings over the years, and they also seem just right for what is likely the final on screen performance from one of the few remaining iconic movie stars. Robert Redford claims this is probably the end of his nearly 60 year acting career. If that’s true, he couldn’t have selected a better project for his victory lap. The film itself is a nice mixture of mass appeal and the independent projects that Mr. Redford has long supported. As for the character he plays, it too fits him like a glove.

Filmmaker David Lowery (fresh off last year’s indie favorite A GHOST STORY) has adapted the story from a 2003 “New Yorker” article by David Grann, and it’s based on a true story – one that’s a bit difficult to believe … well, at least until Mr. Redford brings Forrest Tucker to life. Mr. Tucker escaped from San Quentin at age 70, and it was just one of his 16 prison escapes during a lifetime of robbing banks and getting caught. The story is that Tucker simply enjoyed the work, and went about it in the most gentlemanly possible way – often described by bank employees as polite and nice. It’s the perfect character for Redford’s trademark twinkle and grin acting style.

Most of this portion of the story takes place in 1981, and the film captures not just the era, but also the essence – something much deeper than clothes and cars. Starring alongside Mr. Redford is Sissy Spacek as Jewel, and their chemistry allows the quiet moments between their characters to work as effectively as their (sometimes) playful verbal exchanges. Tucker’s “crew” is manned by Danny Glover as Teddy, and the great Tom Waits as Walter. Waits is always fascinating to see on screen, and here he gets one especially good scene to shine. They are referred to as “The Over the Hill Gang” (in contrast to “The Hole in the Wall Gang” from Redford’s classic BUTCH CASSIDY AND THE SUNDANCE KID.

Casey Affleck (reunited with director Lowery for the third time) plays Austin Texas detective John Hunt, who spent a great deal of time chasing Tucker, and actually put the puzzle pieces together. Tika Sumpter appears as Hunt’s wife, Gene Jones is memorable as a Bank Officer, and for you Austin music lovers, Lefty Frizzell’s granddaughter makes a brief appearances. Other far too brief appearances include Isiah Whitlock, Jr, Keith Carradine (weirdly brief), Robert Longstreet, John David Washington, and Elisabeth Moss. The parade of familiar faces can be a bit distracting, but it’s understandable why so many wanted to work with Lowery and Redford.

Joe Anderson’s cinematography is terrific, and the film is oddly devoid of violence. If not mistaken, I believe we only see Tucker’s gun once … and that’s in a glove compartment. There is a certain easiness and warm fuzzy to the film, somewhat conflicting with what we would expect following an armed bank robber!

Of course, the reason we buy into the gentlemanly outlaw is the performance of Robert Redford. Charming and easy-going comes pretty easily to a man that is charming and easy-going. Director Lowery even treats us to a quick clip from young Redford’s film THE CHASE, and does so within a delightful montage of Tucker’s prison escapes. Few actors get such a perfect farewell tribute, and though it’s not quite Ted Williams hitting a home run in his final at-bat, at least Redford gets to tip his cap to the fans. Since he’s moving his career off screen, let’s bid a fond and appreciative farewell to the man that once proclaimed, “I’m better when I move”.

watch  the trailer:

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Posted by David Ferguson

A STAR IS BORN (2018)

October 4, 2018

 Greetings again from the darkness. This is the 4th iteration I’ve seen of A STAR IS BORN. First there was writer/director William Wellman’s original version in 1937 which won the Oscar for Best Original Story, had 6 other Oscar nominations (including Best Picture), and starred Janet Gaynor and Frederic March (he playing a veteran actor and she a starlet). Next came the 1954 remake with James Mason and the fabulous Judy Garland (he playing a veteran actor, she an upcoming singer/actress). Both were nominated for Oscars, and the film was directed by George Cukor (10 years later would win an Oscar for MY FAIR LADY). 1976 brought the second remake (third version), this one starring Barbra Streisand and Kris Kristofferson. It won a Best Song Oscar for Paul Williams, and was directed by Frank Pierson, known best for writing the oft quoted line “What we’ve got here, is a failure to communicate” from COOL HAND LUKE (he also won a Best Screenplay Oscar for DOG DAY AFTERNOON). So perhaps it’s understandable that 81 years after the original, Bradley Cooper chooses this familiar story for a generational update and his directorial debut.

When it’s announced that a new version of this story is being made, the obvious first question anyone asks is ‘Who did they cast?”  Many were surprised when it was learned that Bradley Cooper had cast himself, and that Lady Gaga would take on the female lead. Sure, we all know Bradley Cooper as an Oscar nominated actor from SILVER LININGS PLAYBOOK (2012), AMERICAN HUSTLE (2013), and AMERICAN SNIPER (2014) … but can he SING?  And yes, many had seen Lady Gaga in TV’s “American Horror Story”, but could she possibly carry a major film – sans heavy make-up and gimmicky stage gadgetry?

The audience reactions are in. Bradley Cooper and Lady Gaga blow away the 1976 version, and where they rank versus the other two versions, comes down to personal preference. Mr. Cooper delivers an odd, yet effective, performance as the boozy, aimless rocker Jackson Maine. Not only does he mimic Sam Elliott’s speaking voice and cadence, his performance seems purposefully close to that of Kristofferson from 42 years ago. The great Sam Elliott does play Cooper’s (much) older brother, so the oratory choice makes some sense … it’s just a bit off-putting at first. Cooper is believable as the rocker thanks to his stage presence and charm. We never doubt Jackson Maine is a rock star.

The most stunning and pleasant surprise here is Lady Gaga as Ally. For anyone who still thinks of her in terms of raw meat fashion at industry events, prepare yourself for astonishment. Her beautiful and powerful voice is on full display throughout the film. In fact, her songs and singing are the highlights of what is a terrific film that should have wide appeal. The first song she sings, “La Vie en Rose” (made famous by Edit Piaf) is quite simply jaw-dropping in its beauty.

Ally is a pretty grounded woman from humble means. She works as a waitress and sings whenever she can … having been held back from pursuing her dreams by a well-meaning father (Andrew Dice Clay) who says she doesn’t have the looks to be a star. Ally has a Carole King “Tapestry” poster on her bedroom wall, and we soon learn she could probably sing most any song from that classic album and make it her own. When Jackson and Ally meet, a complex romance and professional partnership forms. We know those rarely end well. As Jackson shuns his protective brother, battles an ever-worsening hearing issue and a self-destructive drinking problem, Ally tries to remain loyal to the man she loves … even as her own career explodes down a path Jackson barely recognizes.

In addition to the aforementioned Dice Clay (surprisingly subtle here), there is a musical duet with Marlon Williams (in the Roy Orbison tribute) and Presley Cash, and surprising supporting characters played by Dave Chappelle and Eddie Griffin. Probably not as surprising, Jon Peters is listed as a Producer on the film. If you are unfamiliar with Mr. Peters, he was once a hairstylist to celebrities and in the early 1970’s fell in love with Barbra Streisand. His first credit as Producer was for her film … you got it … A STAR IS BORN (1976).

Mr. Cooper does a nice job tackling such a large scale and familiar project for his first directing gig, and we are certainly appreciative of his avoiding inclusion of Streisand’s “Evergreen”, and instead showcasing the talents of Lady Gaga. It’s likely Lady Gaga will receive a bit more credit for her acting than is probably deserved (an Oscar nom is possible), but her impact on the movie cannot be understated. Bradley Cooper’s next project as actor/director has been announced as BERNSTEIN, where he will play the great composer Leonard Bernstein. Kudos to Cooper for dreaming big!

watch the trailer:

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Posted by David Ferguson

LOVING PABLO (2018)

October 4, 2018

 Greetings again from the darkness. The first two seasons of the popular and critically acclaimed TV show “Narcos” focuses on the Medellin Cartel and its leader Pablo Escobar, and with multiple episodes, it was able to show immense detail in both the man and his business dealings (drug trafficking). In contrast, this feature length film from writer/director Fernando Leon de Aranoa takes more of a snapshot-in-time approach to Escobar’s rise to power and the reasons for his downfall.

Based on the memoir “Loving Pablo, Hating Pablo” by Columbian journalist and TV personality Virginia Vallejo, director de Aranoa spends quite a bit of time on the relationship between Escobar and Ms. Vallejo. The reason this works is due to the onscreen (and off) connection between lead actors Javier Bardem and Penelope Cruz (a married couple in real life). We see the sparks and feel the sexual energy between them in their first meeting, and then later, both show off their acting talents as times get tough … she frightened for her life, he as defiant and cold-blooded as ever.

Javier Bardem flashes quite the pot belly for a man known as “Robin Hood” for building houses for the poor, and feared as “El Patron” (The Boss) for obvious reasons. Having grown up in poverty, it was drug trafficking which brought him such power and made him a billionaire. We see his interactions with his wife (Juliet Restrepo) and kids, as well as some glimpses of how he handled his staff and business dealings. Ruthless and intimidating are the two words that come to mind.

The film begins with a sequence from 1993, but soon flashes back to a 1981 party at Escobar’s immense compound … and yes, the zoo animals did roam on site. We are informed this is the real beginning of the Medellin Cartel, and by 1982 we learn they made it “snow cocaine in the U.S.”. Remarkably, Escobar was elected to the Chamber of Representatives of Columbia, and we watch him quote Nancy Reagan to his son (“Just say no”) as he explains cocaine to the young boy.

Ms. Cruz shines as Virginia Vallejo, who allows herself to get caught up in the power and money … foolishly thinking she can stay above the fray. Since the film is inspired by the true events recounted in Ms. Vallejo’s book, there are quite a few chilling moments – maybe none more dramatic than Escobar’s gift to her of a handgun and his corresponding monologue. The film covers New York City and then Panama, all while Peter Sarsgaard plays the DEA agent tracking Escobar’s movements.

We see 1991, when Escobar turns himself in and heads to jail – all so he can restructure his business within the confines of what might better be described as a resort … one which he presides over. After his escape from a military prison in 1992, an all-out war breaks out on the street, and we know the end is near.

Look, Pablo Escobar was a despicable man running a despicable business. He’s so mean, he even abuses a plate of spaghetti in one scene – that’s just the kind of guy he was. If you know the basics of his story, the film isn’t likely to teach you much. It’s really just a dramatization of one of the most infamous (and successful) drug traffickers we’ve seen, although the recreation of his death scene does a superb job in capturing the detail of the famous photograph. He’s not a guy we really care to learn about, however, since much of it is told through Virginia Vallejo’s eyes, we at least get somewhat of a human and personal perspective.

watch the trailer:

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Posted by David Ferguson

A CROOKED SOMEBODY (2018)

October 4, 2018

 Greetings again from the darkness. The lust for fame is really just a plea for acceptance. In director Trevor White’s film, the lead character, Michael Vaughn, wreaks of desperation for acceptance … from the public, from his associate, and mostly from his Pastor-Dad. Unfortunately, the path Vaughn chooses is simply the first of many bad decisions. In fact, the film is really a chronicle of the downward spiral of Michael Vaughn’s bad decisions.

Rich Sommer (Harry Crane in “Mad Men”) plays Michael Vaughn, a psychic who tours the country peddling his book and his “act”. And yes, it’s an act. It’s such an act, that it could be considered a scam. However, Michael focuses on connecting the living with their beloved dead ones, so his (sparse) audience is filled with those who want to believe he is legitimate. His assistant-associate-accomplice-would be and one time lover is played by Joanne Froggatt. Her job is to prevent Michael from becoming despondent over the lack of book sales, and also to be his audience-plant when a session gets stalled.

The bulk of the story revolves around Nathan (Clifton Collins, Jr), a man who believes Vaughn has connected to a man Nathan killed. In trying to clear his conscience, Nathan wants Vaughn to use his talents to help Stacy (Amanda Crew), the now-grown daughter of the man Nathan killed. Instead of focusing on “helping” those involved, Vaughn seizes the opportunity to put himself in the spotlight … gaining notoriety as the psychic who helped solve a long-ago murder case. And no, this isn’t the final bad decision Vaughn makes. He manages to make things much worse.

Real life married couple Ed Harris and Amy Madigan play Vaughn’s parents – the one’s he so wants to win respect from. The script from writer Andrew Zilch offers some pretty decent on screen tension, though it strains a bit too much in places – even with a worthy and relatable central idea. It’s human nature to desire acceptance (especially from loved ones) … though it takes a flawed personality to strive for fame and celebrity (especially at the cost of core values). Here’s hoping you don’t see too much of yourself in Michael Vaughn.

watch the trailer:

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Posted by David Ferguson

THE SISTERS BROTHERS (2018)

September 27, 2018

 Greetings again from the darkness. It was a good news – bad news kind of day for westerns. First, it’s announced that Mel Gibson will direct a remake of Sam Peckinpah’s 1969 classic THE WILD BUNCH. Talk about an undesired and unnecessary project! Fortunately, the movie gods understood this gut-punch and as a peace offering, delivered this near-masterpiece that doesn’t so much re-invent the Western, but rather provides a tonal and stylistic twist to the genre.

This is the first English language project from writer/director Jacques Audiard, who has previously delivered such powerful and well-crafted films as A PROPHET (2009), RUST AND BONE (2012), and DHEEPAN (2015). Based on the Patrick DeWitt novel, with a screenplay from Mr. Audiard and his frequent collaborator Thomas Bidegain, this latest is a very unusual film that teeters on satire at times, but is simply too bleak to be a comedy – although it’s too darn funny to be an outright drama.

A terrific opening sequence in 1851 Oregon features a nighttime shootout that sets the stage both visually and tonally for what we will experience for the next couple of hours. It’s beautifully shot and there is some misdirection on what exactly the Sisters brothers are made of. John C. Reilly is absolutely wonderful as Eli Sisters, the soulful forward-thinking one who also has a dash of goofiness to him. His younger brother Charlie Sisters, played by Joaquin Phoenix, is the slightly unhinged one who frequently follows in his hated father’s footsteps by drinking heavily. Charlie is alternatingly quietly menacing and drunkenly menacing. The two brothers are hired assassins, and while Eli dreams of a peaceful retirement, Charlie can’t imagine not doing what they do.

The brothers have been contracted by ‘The Commodore’, a rarely seen power broker played in brief glimpses by the great Rutger Hauer. They are to meet up with advance scout John Morris (played by Jake Gyllenhaal with a quasi-British accent) and kill Hermann Kermit Warm (Riz Ahmed), who has supposedly stolen from The Commodore. Of course, there is more to the story. Warm has actually developed a chemical compound that allows for the easy gathering of gold from waterways – remember this is the height of the Gold Rush.

This is kind of a road trip film … only it’s on a horse trail from Oregon to San Francisco, and it’s kind of a buddy film … only it’s two brothers. Along the way, bonds are forged and broken, and paths are crossed with a kind-hearted saloon gal (Allison Tolman), a greedy town lord (trans actor Rebecca Root), and the brothers’ mother played by the always interesting Carol Kane. There is also a cringe-inducing run-in with a spider, an unfortunate end for a favorite horse, and the hilarious first use of a toothbrush. There is also a Dallas joke that drew quite the laughter from my Dallas audience.

It’s such an unusual film, and it’s presented with a non-traditional pace and rhythm. The moments of laughter surround a core with a dramatic story of destiny, the meaning of life, dreams and visions, and the greed of man. All of this is set to yet another terrific score from Alexandre Desplat and the visually striking photography of Benoit Debie. Director Audiard has delivered a bleak comedy or a comical drama, and he’s done so with more than a fair share of violence. Whether you consider yourself a fan of westerns or not, this one deserves a look.

watch the trailer:

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Posted by David Ferguson

ALL ABOUT NINA (2018)

September 27, 2018

 Greetings again from the darkness. There are dark comedies and then there is the first feature film from director Eva Vives (although she wrote the screenplay for RAISING VICTOR VARGAS). It’s really a dark drama with both feet in the stand-up comedy world, so we find ourselves laughing at the (profane) jokes, despite a lead character that is in desperate need of emotional salvation.

Mary Elizabeth Winstead is dynamite as Nina Geld. And dynamite is meant to have two definitions here. She is terrific in the role, and she (her character) explodes with little notice. Nina Geld is definitely provocative. She is definitely a feminist. She is definitely funny, and she is most definitely messed up. We learn all of this in the first 5 minutes, and spend the rest of the movie waiting to see whether she self-destructs or is somehow saved.

We first see Nina as she delivers a set on stage at a comedy club. Her act is mostly about sex and the misery of relationships. We soon learn why she seems to have little happiness in life. The abusive married cop (Chace Crawford, Tony Romo’s brother-in-law) she has been seeing interrupts the one-night stand she was looking forward to. It’s quite unsettling to watch this unfold, and it seems to be the final straw needed to push Nina to relocate from New York City to Los Angeles. It’s southern California where her agent (Angelique Cabral) has arranged for to audition for “Comedy Prime” – a one hour comedy special produced by Larry Michaels (played by Beau Bridges).

In L.A., Nina rooms with a stereotypical southern California “New Age” type (Cate del Castillo) who senses energy fields and remains quite civil in her arguments with her partner (played by Clea DuVall). Mostly we see what a damaged soul that Nina is, and bearing an unfair brunt are her mother (Camryn Manheim), her mom’s friend (Mindy Sterling, AUSTIN POWERS), and a fellow comic (Jay Mohr).

When Nina meets Rafe (Common, in a rare leading man role), she begins to show her first signs of actual human connection. And of course she is confused by this, and her self-destructive being rears up. The big reveal as to the cause of Nina’s constantly confused state (I don’t believe the therapy sessions are working) is held back until late in the final act … and it’s a doozy that leads to a painfully honest on stage meltdown.

Ms. Winstead is really terrific here, and she is absolutely believable in her stand-up bits. In fact, the montage of impressions and her constant fine-tuning of the act are almost as good as the heavy drama pieces she excels at. The film itself is kind of a mash-up of stories, but it’s her performance that keeps us onboard … even as we question her character’s stability (and incessant hair tussling).

watch the trailer:

 

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Posted by David Ferguson

BLACK 47 (2018)

September 27, 2018

 Greetings again from the darkness. While filmmakers don’t tend to shy away from sad or even depressing characters or events, Ireland’s Great Famine has rarely been depicted on the big screen, for whatever reason. The film’s title refers to the worst year of the famine (1847). These were bleak times and folks were desperate – nearly without hope. More than one million people died, and between one million and two million emigrated from Ireland (depending on what time frame you exam). It all began with potato blight.

Director Lance Daly co-wrote the script with PJ Dillon, Eugene O’Brien, and Pierce Ryan, and have chosen to explain history through a personal story rather than an epic big picture one. Feeney (James Frecheville, ANIMAL KINGDOM, 2010) goes AWOL from the British Army in order to check on his family. The home he finds hardly resembles the one he left. His mother is dead from starvation and his brother was hanged. The rest of his family has been evicted and is soon dead as well. Apparently what he witnessed in war prepared Feeney for the horrors he discovers in his homeland. To complicate matters, he is not only viewed as a deserter by the British, but also a traitor within his own community (for fighting for the British).

Feeney becomes a renegade on a mission to avenge the deaths in his family. The film plays like one of those Charles Bronson movies, where a man of principle believes in doling out his own form of justice. A posse of 4 is assembled to track down Feeney. Captain Pope (Freddie Fox, THE THREE MUSKATEERS, 2011) is a despicable soul and by-the-book soldier who blindly follows orders and ignores the suffering of citizens he views as barely human. Young Hobson (Barry Keoghan, THE KILLING OF A SACRED DEER, 2017) is the Captain’s personal valet, while Conneely (Stephen Rea) is local added as a translator – and some much needed comic relief. The most interesting of the group is Hannah, a disgraced Inspector and Feeney’s former commanding officer.

Hugo Weaving (THE MATRIX) plays Hannah as a man driven to the edge by his war experience. One a hero, now slightly unstable in his actions, Hannah agrees to join the posse instead of spending his life in prison. His commitment to the cause is always in question, as we are led to believe there is much to the connection of Hannah and Feeney … a connection that plays out dramatically when they finally cross paths again. Mr. Weaving’s great face is contrasted nicely by Mr. Frecheville’s dead eyes (‘like a doll’s eyes’).

The revenge mission plays out with some violence, but director Daly never stoops to gratuitous gore. Instead, we typically see the aftermath … one of which brings a twist to the phrase “pig-headed”. Feeney’s time as a soldier has well prepared him for this mission. Even Crocodile Dundee would be proud of Feeney’s knife, and he does tend to make a statement with each of his killings.

Supporting work is provided by Jim Broadbent, Moe Dunford (“Vikings”), and Sarah Greene (“Penny Dreadful”). There are a couple of themes on display here: the politics (and power grab) of the time, and one man’s drive to knock down corruption and clean up his beloved country … while showing no mercy to those who have harmed his family. The contempt for the British is quite clear. Religion doesn’t escape commentary and judgment, with a sequence involving a Protestant minister, a Roman Catholic priest and a soup line with a catch.

Director of Photographer Declan Quinn (MONSOON WEDDING, IN AMERICA, LEAVING LAS VEGAS) does work capturing the contrast between beautiful vistas and incredible hardships. The stunning Connemara (western Australia) landscape is offset by immense suffering and cruelty … only the art design is a bit shaky, which is understandable given budgetary challenges. Though we’ve rarely, if ever, seen such a cinematic treatment of this era, it’s clear the guns misfired more often than this production.

watch the trailer:

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Posted by David Ferguson

ONE WILD MOMENT (2018)

September 26, 2018

 Greetings again from the darkness. In 1977, French Producer-Writer-Director-Actor Claude Berri directed a film version of his own original screenplay entitled IN A WILD MOMENT. In 1984, director Stanley Donen’s (SINGIN’ IN THE RAIN) final feature film was an Americanized remake that inexplicably left Mr. Berri as uncredited. Perhaps that’s how Berri preferred it, since Donen’s BLAME IT ON RIO was atrocious and nearly unwatchable despite a cast that included Michael Caine and a 21 year old Demi Moore. This third iteration, directed by Jean-Francois Richet (who co-wrote the adapted screenplay with Lisa Azuelos) does credit Berri, and returns the material to France where it’s a better fit.

Best friends Antoine and Laurent take their teenage daughters Louna and Marie (who are also best friends) on holiday to Antoine’s childhood home in the Corsica countryside. The house is a bit rustic and neglected, has spotty (at best) internet, includes a family burial plot, and is miles from town. The only neighbor is an elderly gentleman and his roaming dog. The girls aren’t nearly as taken with the serenity as their dads seem to be.

Both dads are loving and protective of their daughters, though the usual teenager-parent squabbles occur regularly. Watching the interactions between the dads and daughters, between the two men, and between the two teenagers is quite entertaining and exceedingly believable. Of course, the core of the story is what happens in one “wild” moment when Laurent is simply being supportive of Antoine’s daughter Louna – and her teenage crush of the older man shifts into seduction. A late night naked frolic on the beach crosses the line that should never be crossed. Laurent instantly regrets the action, and Louna falls “in love” like only a teenager can.

The rest of the movie becomes an uneasy dance of lies, threats, insinuations and betrayals. Most of it is handled with a comedic intentions, and that compounds the feelings of queasiness and disgust that we have towards Laurent and his unacceptable and unforgivable (and illegal) actions. We see the two men frazzled for much different reasons. Though he doesn’t know the identity of the “older man” who took advantage of his daughter, Antoine is obsessed with tracking him down and making him pay. On the other hand, Laurent is desperate to keep the secret from his friend, and that forces him to play along with Louna’s taunting games.

Two of France’s biggest stars, Vincent Cassel (MESRINE) and Francois Cluzet (THE INTOUCHABLES, TELL NO ONE) play Laurent and Antoine, respectively, while Lola Le Lann (age 19 during filming) and Alice Isaaz are Louna and Marie. Mr. Cassel and Ms. Isaaz are especially effective – he in a no-win role, and she leaving us wanting even more characterization.

Though it was filmed more than 3 years ago, it’s now getting a second life. Original writer Claude Berri is probably best known for his stellar work on JEAN DE FLORETTE and MANON OF THE SPRING, and we can’t help but think his script would work better in contemporary times if the comedy turned much darker and made it abundantly clear that Laurent’s actions were entirely unacceptable – instead of leaving his response to young Louna’s come-on as understandable. The film is produced by Thomas Langmann, the son of Claude Berri, and kicks off with the beautiful and familiar version of “La Mer”, a 1946 song by Charles Trenet.

watch the trailer:

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Posted by David Ferguson

WHITE RABBIT (2018)

September 22, 2018

 Greetings again from the darkness. You have probably not met anyone like Sophia. I certainly haven’t. She’s a Korean-American performance artist who uses various personalities/characters in her “act”. She also lives alone in Los Angeles, and bikes everywhere … collapsing after a full day that consists of some mixture of delivering public diatribes, crafting her latest bizarre YouTube video, fulfilling her current TaskRabbit assignment, or trying to connect with a fellow human being – one that’s not someone else’s toddler requesting a horseback ride.

Sophia is played by Vivian Bang, who also co-wrote the script with director Daryl Wein (co-writer with his now-wife Zoe Lister-Jones of LOLA VERSUS). Ms. Bang is herself a performance artist, so we can assume much of this is cultivated from her daily life. As Sophia explains to her mother in one scene, “It’s not art that people can buy.” We first see Sophia screaming silently into the portable P.A. system she totes around while sporting a snow white wig and white jump suit.  She is standing in the middle of a grocery store and then proceeds to tell “her” story about immigrating to this country (it’s a story, but not really hers). The shoppers mostly ignore her. You might question why she is screaming silently or why she picks a grocery store (or public park) as a venue. The answers unfold slowly.

Sophia has multiple interactions with Victoria (Nana Ghana), an African-American photographer of roughly her same age. The two women hit it off, with Sophia being very attracted to Victoria. As their friendship builds, and “signs” possibly misconstrued, Sophia admits to learning English by watching John Hughes movies – explaining her Valley Girl accent and overuse of “like” (a disservice to Molly Ringwald). The chemistry between the two actresses is terrific and we actually would have enjoyed a bit more, especially after yet another bombshell rocks Sophia’s world.

An awkward movie audition, the use of cheese puffs and powdered sugar for YouTube videos, and a misplaced confrontation with a former lover/partner all lead us to better understand Sophia (and Ms. Bang) seeking validation of her work. On a couple of occasions she says “Can you hear me?” We might be trying, and Ms. Bang might have something of value to offer, though this film merely offers a tease. We sense there are similarities to the very talented Miranda July, only with differing missions. The excellent soundtrack is an added plus, and we will just have to sit quietly (without screaming) to see where this takes Vivian Bang.

watch the trailer:

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Posted by David Ferguson

LIFE ITSELF (2018)

September 21, 2018

 Greetings again from the darkness. The theory is that heavy dramas find it challenging to attract an audience during times when real life and newscasts are filled with daily downers. One need only tune in to the local news to see that we are in just such a “downer” period right now, and it would be difficult to argue that this latest from writer/director Dan Fogelman (“This is Us”) is anything but the weightiest of heavy dramas – with an emphasis on the preciousness of time and life.

It’s highly likely that this film will fall into the love it or hate it category. It’s a sure bet that many critics will bash it as pretentious and overly melodramatic. It will be labeled a manipulative tear-jerker with outlandish coincidences. I won’t debate the merits of that criticism, and instead will remind all that creative fictional storytelling can often seem fantastical and improbable, but that doesn’t mean it can’t also be entertaining, thought-provoking, and carry a worthwhile message.

Because of the overlapping and intertwining stories, characters and timelines, filmmaker Fogelman breaks the film into 5 chapters. This should allow most viewers to keep track. Chapter 1 is entitled “The Hero” and features Samuel L Jackson as the unreliable narrator – a recurring theme throughout. It’s also in this chapter that we meet Will and Abby. Will (Oscar Isaac) is an emotionally unstable man who has been in a mental institute for the 6 months since his wife Abby (Olivia Wilde) left him. He is despondent and attending required sessions with a therapist played by Annette Bening, and we get cutesy flashbacks to the Will and Abby courtship. See, Abby and Will are the kind of couple who see themselves as Tarantino characters, argue about the merits of Bob Dylan (poet or Chewbacca noises?), and come up with the worst dog name in cinematic history.

Chapter 2 is where we meet Dylan Dempster, daughter of Will and Abby, and granddaughter of Mandy Patinkin and Jean Smart. She is named after the poet songwriter, not the Star Wars character. There is a cool effect that evolves Dylan’s face from a child surrounded by death and tragedy to a just-turned-21 year old played by Olivia Cooke (THOROUGHBREDS), who also happens to front an atrocious punk rock band and flashes quite the temper. Chapter 3 shifts from New York City to Carmona, Spain where we are introduced to “The Gonzalez Family” of Javier (an outstanding Sergio Peris-Mencheta), his wife Isabel (another excellent performance from Laia Costa, VICTORIA), and Javier’s boss Saccione (Antonio Banderas). Javier works Saccione’s olive orchard, as he and Isabel start a family. Chapter 4 focuses on their son Rodrigo (Alex Monner) as he grows into a talented young man while his beloved mother suffers with a debilitating disease. Finally, in Chapter 5 we meet Elena Dempsey-Gonzalez (Lorenza Izzo) and the story comes full circle … or all the dots are connected. Even the identity of the narrator who took Samuel L Jackson’s place after Chapter 1 is revealed.

Filmmaker Fogelman seems to be better suited as a writer (CRAZY STUPID LOVE) than as a director (DANNY COLLINS), and his script here is extraordinary in its ambition. While there may be some developments that seem contrived, there are also some terrific moments throughout. We see a cross-continent ripple effect that makes this the CRASH of family dramas (the 2004 movie, not the one from 1996). Who is a hero and who is a villain is one of the key elements here, but Fogelman seems intent on making the point that traumatic events and tragedy shape who we are as people. The message is that our ability to bounce back – to “stand up” after being knocked down, is really what defines the human experience. For those who keep an open mind, the emotional jolts provided here will likely resonate.

watch the trailer:

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Posted by David Ferguson

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