OPERATION FINALE (2018)

August 29, 2018

 Greetings again from the darkness. Historical dramas, by definition, carry added depth and weight to stories that sometimes seem almost beyond belief. Such is the true story of the 1960 Mossad mission to capture Adolph Eichmann, the noted architect of the Final Solution, who was hiding in plain sight in Argentina. You might think there have already been enough Holocaust movies, but director Chris Weitz (ABOUT A BOY) hones in on the personal aspects of loss and anger, and the need for justice.

Matthew Orton’s first screenplay benefits greatly from a terrific cast, especially the two main characters played by Ben Kingsley (Adolph Eichmann) and Oscar Isaac (Mossad agent Peter Malkin). Sir Ben is notably restrained in his performance of the last surviving mastermind of the Holocaust, and one of the most despised men on the planet. His subdued performance aligns perfectly with the “ordinary” man of which we’ve since read. Mr. Isaac adds the element of psychology in his “good cop” approach to getting Eichmann to crack.

Playing much like a heist movie, we see the team assembled and the quite convoluted plan devised. The high risk strategy underscores the desperation so many felt in their need to see Eichmann pay for his atrocities. The manhunt required some political tip-toeing, and we even gain a history lesson on the role of the Catholic Church. A tip from a “secret” Jewish daughter (Haley Lu Richardson) and her father (Peter Strauss) set things in motion. Sylvia (Ms. Richardson) actually dates Klaus Eichmann (played by Joe Alwyn), who is a picture-perfect Aryan carrying on the horrid Nazi tradition of hatred.

Of course, Klaus is the son of Adolph, and the one who spills the beans about his father being “a big deal” in the war … thereby ruining the quiet and mostly unassuming life they have been living with Adolph’s wife (a nearly unrecognizable Greta Scacchi). Sylvia and Klaus meet at a movie when she shushes him and his friends. Director Weitz even includes a clip of IMITATION OF LIFE (1959), a film that not coincidentally stars his mother, Susan Kohner. It’s a nice touch.

Much of the film takes place in the safe house where Adolph Eichmann is blindfolded and spoon-fed. It’s here that the psychological games and political maneuverings begin. Supporting actors who add strength to the film include team members Melanie Laurent (Hanna), Michael Aranov (chief negotiator Zvi), Lior Raz (as the demanding team director), Nick Kroll, and Simon Russell Beale (as Prime Minister David Ben-Gurion). There is a history of bumpy romance between Hanna and Peter, though it adds little to the story.

Alexandre Desplat’s score is terrific, especially during a creative and informative opening credit sequence. “Who did you lose?” is a recurring question throughout, as it’s 1960 and everyone involved lost someone – a driving force behind their persistence and commitment to the cause. The film is focused on the mission to capture, not the details of the subsequent trial; however it does close with archival photos of the actual trial – adding historical relevance to this fine dramatization.

watch the trailer:

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

AN ACTOR PREPARES (2018)

August 29, 2018

 Greetings again from the darkness. Does a kid ever lose hope that what was once a horrible/absentee parent might magically evolve into a dependable, caring parent – even as an adult? Is it ever too late for that parent to make amends? Director Steve Clark co-wrote this story with Thomas Moffett about a narcissistic actor (is there any other type?) and his feeling-slighted grown son being forced to take a road trip that likely won’t lead to bonding, but could result in their better understanding each other.

The film opens with a sweeping overhead shot of the Hollywood sign and the glittering lights below. It’s fitting since a big part of the story is the level of entitlement and garish ego proliferating the industry that put the town on the map. Legendary actor Atticus Smith is being presented a lifetime achievement award. We see that his career has been widely diverse with project titles ranging from the legitimate sounding “The Language of Men” to those with significantly more shock value like “Throwdown at Bitch River”. His speech is quite awkward, but it serves well as our introduction to the character which Jeremy Irons makes his own.

Mr. Irons goes over-the-top to play Atticus. His blustery mannerisms, ever-present scarf, and center-of-attention-seeking personality dominate much of the film and allow us to understand why his grown son Adam (Jack Huston) carries such a grudge for the man who never really tried to be his father, and who readily admits that the younger daughter (Mamie Gummer) is his favorite. It’s really the only empathy we can muster for Adam, since he early on establishes himself as a pretty unlikeable and quite annoying professor of film. In his first scene, he actually tries to lecture a class of female students on the real meaning of feminism (the class is “Cinema through a Feminist Lens”). The next time we see him, he’s being rude to his father Atticus, who has just suffered a heart attack. You know the type.

It’s that heart attack that puts these men together on the road – initially in a luxury tour bus, and later in a classic Plymouth Barracuda. Their destination is the daughter’s wedding, and the trip includes stops at the Chateau Marmont and The Drake Hotel in Chicago. Along the way, we see a bit more of a post-shower Atticus than we would prefer, watch one of the worst baseball scenes in movie history, and witness Atticus sneaking booze and porn on the bus, and then finally drugging his son.

The title of the film comes from a book by acting teacher Konstantin Stanislavski, which makes total sense once we realize these two men have been acting their way through life. Adam is terrified of becoming a parent like his father, keeps his own health issues a secret, and is apparently inept at documentary filmmaking, which he claims as his profession. On the trip, Atticus is prepping for his next role – he is to play God, which he seems to think is perfect casting … although the studio and his manager (Ben Schwartz) are quite concerned about his health.

Mr. Huston does finally bring his character along to the point where he seems more tolerable, and the film might surprise you on where it ends. There is some decent comedy and a yin and yang with father and son that adds enough entertainment value, as long as you can enjoy the flamboyant approach taken by the venerable Mr. Irons.

Watch the trailer:

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

PAPILLON (2018)

August 23, 2018

 Greetings again from the darkness. It seems like most every remake that comes around begs the question, “Why?” This is especially true when the film being remade is a favorite such as 1973’s PAPILLON. The original was directed by Oscar winner Franklin J. Schaffner (PATTON, THE PLANET OF THE APES, THE BOYS FROM BRAZIL), and starred two legendary actors, Steve McQueen and Dustin Hoffman. The screenplay was written by Dalton Trumbo and Lorenzo Semple Jr, and was based on the Henri Carriere books “Papillon” and “Banco”. Mr. Carriere was, of course, the titular Papillon himself, and though the specifics of his stories have been met with skepticism over the years, he nonetheless delivered some fascinating material.

So why make the film again 45 years later? Well this is a kinder, gentler version and features two of today’s most popular actors: Charlie Hunnam (“Sons of Anarchy”) and Rami Malek (“Mr. Robot”) as Papillon and Louis Dega, respectively. The screenplay from Aaron Guzikowski (PRISONERS) focuses more on the friendship and less on the brutal prison environment. Director Michael Noer (I’m admittedly unfamiliar with his previous work) delivers a movie that looks very good and works as an example of loyalty and bonding.

The film opens in 1931 Paris and we witness Papillon (so known because of the butterfly tattoo on his chest) doing what he does … safecracking for a powerful mobster. He seems to be living the good life with his girlfriend (played by Eve Hewson, Bono’s daughter) and they have plans to escape this life of crime – always an ominous sign in movies. Sure enough, he is framed for murder and sent to the penal colony in French Guiana. It’s there that he meets Louis Dega (Malek), a master counterfeiter. Dega is a soft and slight man, and the wad of cash hidden in his nether-regions puts a target squarely on his back. So Papillon’s brawn and need for cash to grease the wheels of his escape, and Dega’s need for protection, make this the match made in heaven (or in this case, hell).

Being a man of eternal optimism, Papillon never loses faith that he will escape, even when the warden (a terrific Yorick van Wageningen from Fincher’s THE GIRL WITH THE DRAGON TATTOO) explains that hope is his enemy. The years spent in solitary confinement rob Papillon of years and weight, but never hope. A final stint on Devil’s Island reunites the two men who share a bond that only such harsh circumstances could build. Since we know that Henri Carriere wrote the manuscripts for the books in 1969, the ending is known before we start; however it’s the telling of the story that allows us to come to know both Papillon and Dega.

This latest script does a better job of developing the friendship, as well as providing Papi’s past and reason to live. The original nailed a man’s commitment to surviving, while this one makes hope more of a philosophy. Lacking the magic of McQueen, Mr. Noer’s version doesn’t quite compare, but for those who have never seen the 1973 film, this one should prove quite engaging – even if we old-timers don’t buy into the kinder/gentler approach.

Watch the trailer:

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

BLAZE (2018)

August 23, 2018

 Greetings again from the darkness. “When the legend becomes fact, print the legend.” “I don’t want to be a star, I wants to be a legend.” The first quote comes from THE MAN WHO SHOT LIBERTY VALANCE and the second is drawled by Blaze Foley as he snuggles with his muse and lover in the back of a pickup truck. We can imagine the first quote inspired many stories over the years by those who knew Blaze, and it might also have served as a driving force for writer/director Ethan Hawke as he crafted this graceful tribute to an underappreciated songwriter and his too short life.

Mr. Hawke is a 2-time Oscar nominee as an actor, and his best known previous turn as director was for CHELSEA WALLS (2001). He (a distant relative of Tennessee Williams) has also been twice Oscar nominated as a writer (BEFORE SUNSET, BEFORE MIDNIGHT), and his movies are often music related or influenced. His latest is a biopic of a mostly unrecognized country-folk artist, and Hawke collaborated with Sybil Rosen to adapt her memoir “Living in the Woods in a Tree: Remembering Blaze Foley”. It’s Ms. Rosen who shared the bed of that pickup referenced in the first paragraph above.

Ben Dickey plays Blaze and Alia Shawkat plays Sybil. Not only does Dickey capture the spirit and sound of Foley’s music, but the scenes with Blaze and Sybil as a couple are some of the most touching and realistic relationship sequences we’ve seen on screen. We understand their connection … and their disconnection. It’s proof that two people can be both ‘made for each other’ and ‘wrong for each other’. Director Hawke utilizes different time periods, as well as a framing device in the form of a radio interview. None of this works in traditional biopic manner as the interview features the great troubadour and musical poet Townes Van Zandt (played exceptionally well by Charlie Sexton) recollecting the times (both good and bad) he spent with his friend Blaze. He’s joined by another Foley friend and collaborator, Zee (Josh Hamilton) as the two color in the blanks to ensure the legendary status desired by Blaze. The DJ is voiced by Ethan Hawke, who is only seen from behind.

In addition to the radio interview and the relationship with Sybil, we also have multiple scenes of Blaze’s final live show being recorded at the old Austin Outhouse. The nearly two hours of music and philosophizing were turned into a record release that remains (nearly 30 years later) a mesmerizing listen. These 3 very distinct pieces fit together to bring Blaze into focus as both a songwriter and troubled man – one who found himself in too many fights and, ultimately, on the wrong end of a gunshot in 1989.

Philosophy and homespun wisdom and catchphrases flow from Blaze during his songs and even when he’s just hanging with his buddies or Sybil. The real Sybil Rosen plays her own mother in a scene where Blaze meets the parents, and there is a touching moment in the film where Blaze plays for his estranged dad (a wonderful, albeit brief performance from Kris Kristofferson), the founder of The Singing Fuller Family where Blaze got his musical start. It’s these kind of touches that elevate the film into a must see whether you are familiar with Blaze Foley or not.

BLAZE FOLEY: DUCT TAPE MESSIAH is a 2011 documentary that would nicely compliment Mr. Hawke’s film, although this version contains much more humor – including cameos by Steve Zahn, Richard Linklater and Sam Rockwell as Zephyr Records executives. With Louis Black (founder of SXSW and a former film class TA of yours truly) as an Executive Producer, and songs by Blaze Foley and Townes Van Zandt, this little gem is likely to awaken viewers to a bygone era of music that tends to be remembered only for Willie, Waylon, Jerry Jeff and Merle.

watch the trailer:

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

CRAZY RICH ASIANS (2018)

August 16, 2018

 Greetings again from the darkness. With so much attention on this being a rare mainstream movie with an “all Asian cast”, it’s possible to lose sight of the fact that it’s much more than this generation’s THE JOY LUCK CLUB (1993). Director John M Chu has delivered a very entertaining, though a bit slick and glossy, crowd-pleasing romantic comedy with touches of cultural awareness. It also features a few noteworthy performances, including a star-making turn from Constance Wu (“Fresh Off the Boat”).

Based on the best-selling novel by Kevin Kwan, the screenplay is written by Peter Chiarelli (THE PROPOSAL) and TV writer Adele Lim. Rachel Chu (Constance Wu) is an energetic, American-born Chinese economics professor, and her boyfriend Nick Young is played by big screen newcomer Henry Golding. A successful and confident person on her own, Rachel, having been raised by a hard-working single mother (who fled China while pregnant), assumes her charming and handsome boyfriend is equally grounded. It’s not until she agrees to accompany him to Singapore for his best friend’s wedding that she begins to pry the truth – most of the truth – out of him. See, Nick and his family are quasi-royalty in Singapore … one of the wealthiest families in the city and country.

Upon arriving, Rachel quickly learns that Nick’s mother is certainly not open to the idea of her son, the company’s heir-apparent, having anything to do with a woman lacking the required pedigree – namely money and a Chinese legacy. Michelle Yeoh (CROUCHING TIGER HIDDEN DRAGON) plays the icy Eleanor Young, and is quite elegant in her disdain for Rachel, and in capturing the relationship between Asian mother and son. Some of the best scenes are the interactions between Rachel and Eleanor – each so eager to succeed in their polar opposite missions. Facing widespread accusations of gold-digging, Rachel retreats to the comfort of her old college friend Goh Peik Lin, played by a fast-talking and quite hilarious Awkwafina (OCEAN’S 8).

The humor is prevalent throughout, with some of it being quite outrageous. Ken Jeong and Koh Chieng Mun play Peik Lin’s parents … the caricatures of new money. Jimmy O Yang is the high-roller never-grown-up frat boy type responsible for the outlandish bachelor party; Nico Santos is Oliver, the self-titled ‘rainbow sheep of the family’; and Ronnie Chieng is the obnoxious family member everyone avoids. The comedy provided by this group prevents the dramatic elements from ever being too weighty for viewers. This holds true even with the short-changed sub-plot featuring Nick’s beautiful sister Astrid (a scene-stealing Gemma Chan) and her disintegrating marriage to another “outsider”.

Opulence and obscene wealth is on full display, leaving us a bit unsure (by design) exactly where the emphasis should be placed on the title. Although it has the required elements of a fairy tale, it’s certainly not run-of-the-mill. Cinderella allowed a kind-hearted woman to be rescued from slave labor and a basement bed. This Cinderella story doesn’t exactly rescue Rachel, who is a strong, self-made woman. Instead, it ups the ante by having her harshly judged … while in fact, she is the one who should be sitting in judgment – first of a boyfriend who was never honest, and then with a family who assumes she’s not good enough to be one of them.

In a tip of the cap the aforementioned THE JOY LUCK CLUB, Lisa Lu (now 91 years old) plays Kevin’s grandmother, the matriarch of the family, and one who has played a role in making Eleanor the protector of family and tradition. Eleanor’s guiding philosophy and contempt towards Rachel is summed up in her line, “All Americans think about is their own happiness”. It’s one of the moments where we do wish the film would dig a bit deeper and further explain the traditions and cultural differences that cause such venom spewing towards Rachel.

Director Chu has had a stream of poorly reviewed films (NOW YOU SEE ME 2, JEM AND THE HOLOGRAMS, G.I. JOE: RETALIATION, STEP 2), but that likely stops here. His social media montage early in the film is a visual feast, and the camera work (by Vanja Cernjul) over Singapore is stunning. The soundtrack offers Asian versions of some well-known songs, including Cheryl K singing “Money (that’s what I want)”, a Berry Gordy song which we are accustomed to hearing sung by John Lennon. Credit goes to casting as well, since Ms. Yeoh and Ms. Lu are Asian acting royalty, and Ms. Wu and the dashing Mr. Golding are sure to see their careers skyrocket.

The director and producers are also to be commended for making the rare decision of choosing art over money. They were so committed to the film finding a theatrical audience that they turned down huge bucks from Netflix for the rights. It’s a risk that will likely payoff for them. Is it a simple love story made complicated by family, economics, tradition, and class differences … or is it a story of tradition and wealth that attempts to salvage the purity of a love story regardless of class? Either way, it’s a relatable story and one that will surely entertain most anyone who watches. As a bonus, you’ll pick up a banana joke that you’d best not repeat.

watch the trailer:

Leave a Comment » | Comedy, Drama, Rom-Com | Tagged: , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

ONE BEDROOM (2018)

August 11, 2018

 Greetings again from the darkness. Since none of us enjoy our own relationship-gone-bad, it’s kind of interesting how we can be drawn to just such a movie. Nate and Melissa’s romance is crumbling … or rather has crumbled. She has accused him of cheating with a younger woman, and they are surrounded by moving boxes as they finish break-up (not make-up) intimacy in the small Brooklyn apartment they’ve been sharing for 5 years.

Writer-Director-Producer-Actor Darien Sill-Evans stars as Nate, a DJ slash barber, who can never quite distinguish between what he should tell Melissa (Devin Nelson) and the boys at the barbershop, and what he should keep to himself. He’s a pretty typical clueless dude. Melissa is angry at him for cheating, and during their argument, a flashback sheds light on what really happened that night. Conflict and emotions fill the screen whether it’s Melissa and Nate bickering, or Nate getting the treatment from his co-workers at the barbershop, or even Melissa hearing it from her friend and brother.

In his first feature film as a director, Sill-Evans does a nice job of establishing the lingering doubts that accompany the dissolution of a long term relationship. Fingers are pointed, accusations are made, and feelings of guilt are predominant. He uses additional flashbacks to deliver more insight into all of these characters, especially the two leads. Much of the dialogue seems yanked directly from real life, and the best is, “I didn’t cheat, I retaliated”. So much is said with those words.

There is quite a bit of comedy mixed in, though much of the time, it’s the delivery, not the setting that generates the chuckles. Mr. Sill-Evans has certainly not delivered a formulaic Rom-Com, and in fact, the dramatic moments are the most powerful – shedding light on our flaws as human beings. Supporting work is provided by Jade Johnson, John Laster, Stephen Hill, and Chester A Sims II.

Opening with a streetside rant against racism, we hear some of the stupid things white people say during the gentrification of a neighborhood. Doug Simpson’s music is spot on throughout, and though this one won’t reach a mass audience, for an independent directorial debut, it definitely makes a statement.

watch the trailer (NSFW):

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

DISTORTED (2018)

August 11, 2018

 Greetings again from the darkness. Being startled awake by a nightmare is disconcerting for all of us. When that dream is strobe-like with flashes to a personal tragedy, the horrifying images carryover into daily life, impacting one’s mental stability.  Such is the new-norm for Lauren (played by Christina Ricci) as she attempts to recover from a disaster of which we are only provided glimpses and hints until later in the film (although it’s pretty obvious). Lauren admits to being scared to rejoin the world – she hasn’t even been able to resume putting her art on canvas.

Director Rob W King (HUNGRY HILLS, 2009) teams with writer Arne Olsen (whose work in the 1990’s included COP AND A ½, RED SCORPION, MIGHTY MORPHIN POWER RANGERS: THE MOVIE) in an attempt to deliver a high-tech psychological thriller … a sub-genre that has yet to be successfully conquered, cinematically speaking. Lauren and her husband, played by Brendan Fletcher, decide the best move for her sanity and their marriage is to move from the city to the suburbs. They choose The Pinnacle, a luxury condo with ultra high-tech and modern amenities so extreme it’s known as “the smart building”.

Typically having a building be the villain doesn’t work out so well from a story-telling perspective, so of course, paranoia and conspiracy theories are dwelled upon. An obvious choice of the “Beautiful Dreamer” song is repeatedly slipped into scenes to cause Lauren further queasiness. As she becomes increasingly suspicious, and convinced evil is afoot, she crosses paths with a mysterious dark web figure played by John Cusack – a character so predictable that he whispers in conversations, wears a black hoodie, and works in a secret computer lair. As others try to convince Lauren her medications for depression are either too much or too little, Cusack feeds her the age old line … you aren’t paranoid if they are watching you.

Christina Ricci has been acting since she was 10 years old, and here she performs admirably in a film that, bottom line, doesn’t deliver. The movie has the vibe of a cheesy TV show, kind of a rip-off of “Westworld” or “I, Robot”, though it does tease us with the possibilities of electronic hypnosis and manipulation through subliminal images. Our ever-increasingly digital world, and the dangers that come with such power, are a real world problem that, for whatever reason, just hasn’t transferred well to the big screen yet.

watch the trailer:

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

BLACKKKLANSMAN (2018)

August 9, 2018

 Greetings again from the darkness. Adam Driver impersonating John David Washington or vice versa … either way is comical, except that it’s also based on a true story where their characters existed and this chain of events actually occurred. The source material is the memoir by Ron Stallworth and it’s possible, given today’s social climate, that only director Spike Lee could pull off a film that so blatantly uses racism for comedic effect, yet also reminds us of its inherent danger.

Mr. Washington (Denzel’s son) plays Ron Stallworth, Colorado Springs’ first black rookie police officer. His job interview is quite awkward and, of course, features a reference to Jackie Robinson. Quickly growing tired of his records room duty, Stallworth’s first field assignment is to infiltrate a local black activist group and report back on a Stokely Carmichael/Kwame Ture (Corey Hawkins) event. This leads to a much bigger and riskier plan of going after the KKK. Yes that’s right, no need to re-read the part about him being the first black police officer. This is the incredible story of how an African-American (with the help of his white partner) worked his way into the KKK, even speaking with David Duke on a few occasions, and ultimately prevented an attack on local black activists.

The adapted screenplay was a collaborative effort from Charlie Wachtel, David Rabinowitz, Kevin Willmott, and director Spike Lee. The film is simultaneously laugh outloud funny and provocative. The outlandish plan involves Ron Stallworth (and his white voice) being the telephone connection, and partner (and non-practicing Jew) Flip Zimmerman (Adam Driver) being the “white face” of Ron Stallworth at KKK meetings. There is extreme tension during Zimmerman’s undercover scenes, and much of the humor occurs during Stallworth’s phone conversations. Topher Grace is extremely effective as David Duke, a thankless role to say the least.

Superb support work is widespread in this film that runs 2 hour and 15 minutes. Robert John Burke plays a no-nonsense Chief Bridges; Frederick Weller is racist jackass patrolman Andy Landers; Laura Harrier is Patrice, the Angela Davis lookalike activist and love interest; Jasper Paakkonen plays skeptical and high-strung Klansman Felix; Paul Walter Hauser (I, TONYA) is the comical and unnerving Ivanhoe; and even Harry Belafonte makes a surprise big screen appearance. Other notables include Alec Baldwin (in an opening that sets the stage), Nicholas Turturro, Damaris Lewis, Ryan Eggold, Isiah Whitlock Jr, and Arthur J Nascarella. It’s a terrific and deep cast and they walk the fine line between entertainment and enlightenment. There is no shortage of Hollywood family genes and blending thanks to: Washington, Baldwin, Turturro, Buscemi, and Weller (it plays like 2 degrees of separation).

A low-budget look to the film gives it an authenticity and 1970’s vibe, and cinematographer Chayse Irvin works wonders with the camera in a multitude of situations where our attention should be on the dialogue of the characters rather than the colorfulness of set pieces. Black Ron running the show from a telephone (and a white voice) and White Ron face-first in the muck both have their burdens to bear, and much of the time, Zimmerman’s is the more interesting of the two – although as a whole, it’s an astonishing story.

Perhaps Spike Lee set out to make the polar opposite of D.W. Griffith’s 1915 most controversial film THE BIRTH OF A NATION, and he has certainly crafted one of the most effective films of his oeuvre. He also nails a few jabs at Trump and the current political climate, while the music from Terrence Blanchard perfectly complements the tone. Mr. Lee interjects some historic moments as well as some fictional ones – none more powerful than the back and forth chants of “White Power” “Black Power”. At the conclusion, Lee serves up footage of Charlottesville, reminding us that the racism that caused us chuckles over the past couple of hours, remains prevalent today … only that’s not the least bit funny.

watch the trailer:

1 Comment | Comedy, Drama | Tagged: , , , , , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

BUCKSHOT (2018)

August 5, 2018

 Greetings again from the darkness. Part of the fun that goes with watching a filmmaker’s feature film debut is the hope and optimism that precedes the viewing. At a minimum, we expect to see something original – something … anything … that inspired this person to overcome the many obstacles to getting a first film produced and distributed. Unfortunately, the opposite is true for the first feature from writer/director Joshua J Smith. The material is a mixture of films and characters we have seen too many times before.

Charlie Stillman is a New Jersey boy who dreams of following in his deceased father’s country and western footsteps in Nashville. Armed with a guitar, his dad’s notebook, and nary a clue, Charlie heads south. Rather than open a door, his father’s legacy slams it shut in Charlie’s face. Circumstances are such that he agrees to fly to Seattle and drive honky tonk legend Buckshot Thomas cross-country for his farewell performance in Nashville.

What follows is a typical road trip movie taking place in a battered RV, with a crusty old curmudgeon and a kid who thinks “bro country” music is his ticket to paradise. To no one’s surprise, the generational gap closes quickly as Buckshot offers up life lessons designed to create authentic songwriting tips for Charlie. In exchange, Buckshot makes some unscheduled personal stops along the way – saying goodbye to the past, with sequence involving a drug dealer, gun play, a guitar-whisperer, and gallons of booze.

A half-baked love story is little more than a blip; although there is a quite touching scene in a cemetery, as Buckshot pays his final respects to family, and we learn the story behind his first hit song “Darlin’ Eyes”. And that’s really what this movie has to offer: Tim DeZarn stars as Buckshot, and his performance makes the character more interesting than the script would have us believe. You’ll surely recognize Mr. DeZarn from many roles over the years in TV and movies, but I don’t recall his taking such a strong lead.

Frank Collison plays the guitar mystic and old friend to Buckshot, while Allan Wasserman is the blustery club owner, and Emily Davenport the fringe love interest. Conor Murphy seems to lack the presence to rescue such a poorly written character, but the biggest disappointment comes from the missed opportunity by filmmaker Smith. It’s prime time for a statement on the devolution of true “outlaw” music and musicians into the mainstream sludge that passes as country music these days. Instead of playing it safely in the middle of the lane, a true outlaw movie with guts could have labeled Mr. Smith as an exciting and daring new filmmaker. No wonder Buckshot carries that smoke wagon.

watch the trailer:

 

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

HOT SUMMER NIGHTS (2018)

August 5, 2018

 Greetings again from the darkness. Crime, Romance and Bromance battle it out in the summer of 1991, accompanied by music from the 1970’s, influenced by classic films of the 1980’s and 90’s, and starring 4 rising young stars of today. The debut feature film from writer/director Elijah Bynum comes across as the work of a film and music fanboy concerned with not leaving out any ideas in his only opportunity to make a movie. He shows enough here to likely justify another chance, but we can’t help but wonder if assistance from a mentor might have fine-tuned this into a nice little gem, rather than a blip on the resume of the shooting stars he’s working with.

Fresh off his Oscar nominated performance in CALL ME BY YOUR NAME, Timothee Chalamet stars as Daniel, a socially awkward 18 year old. After the death of his beloved father, Daniel’s mom ships him off for the summer to live with family in Cape Cod – yet another place where he will be an outsider as neither a ‘Townie’ nor ‘Summer Bird’ (the wealthy preppies in summer homes). An odd meet-cute kicks off the bromance between Daniel and local heartthrob/legend and dime-bag pot dealer Hunter Strawberry (Alex Roe, FOREVER MY GIRL). It’s also the beginning of a business relationship that both showers them with cash and puts them on the road to ruin. Hunter’s estranged sister McKayla is the local object of desire for the male population. Played by Maika Monroe (IT FOLLOWS), McKayla is the town vixen who ultimately and predictably falls for Daniel, unaware of his business dealings with her bad boy brother.

Also in the mix here are Emory Cohen (so good in BROOKLYN) as Dex, the no-nonsense “supplier” who pushes the Hunter and Daniel dealings to greater heights, Thomas Jane as the local law enforcement presence, William Fichtner as the coke dealer Daniel tangles with, and Maia Mitchell as Hunter’s love interest. There is also the fallout from recently deceased parents for Daniel, Hunter and McKayla, as well as the impending storm (now known as Hurricane Bob).

An air of familiarity is not uncommon in movies, but this one is downright creepy in how many films it seems to mimic in either tone, style or content. The romance between Daniel and McKayla is the least effective story line. We want to know more about the brother-sister relationship, and are disappointed that the uber-talented Maika Monroe is given little to do other than bat her wicked eyes. It plays like a Greek tragedy where the only question is whether the tropical storm will beat the group’s self-destruction.

This summer story is billed as ‘coming of age’, but that description doesn’t seem to fit unless it refers to the ever-present young narrator whose place in line only becomes clear near the end. There is a nostalgic look and feel to Mr. Bynum’s film, and it’s always nice to have a drive-in theatre play a role; however, his music choices – though terrific to listen to – seem to fit better two decades prior to the setting: Mott the Hoople’s “All the Young Dudes”, David Bowie’s “Space Oddity”, Uriah Heep, Linda Ronstadt and The Modern Lovers. Beyond all of that, we do learn that Hunter Strawberry does not like sprinkles.

watch the trailer:

3 Comments | Drama | Tagged: , , , , , | Permalink
Posted by David Ferguson

« Previous Entries
Next Entries »