LBJ (2017)

November 2, 2017

 Greetings again from the darkness. More than 50 years after his death, President John Kennedy casts an ever-present shadow over Lyndon Baines Johnson’s career as a stellar politician and a President with significant accomplishments. Part of the reason is presentation – JFK was a story book leader straight from the fashion magazines, while LBJ was a vulgar-at-times comic book adversary who looked and talked funny. Each has been portrayed on film numerous times and from various perspectives.

Woody Harrelson and his facial prosthetics play LBJ, and Mr. Harrelson seems to be enjoying the swagger and emotional range of the titular man. What this film does that’s a bit different from others is embrace the comedic elements – enhanced by both the performance and the script from Joey Hartstone. It seems odd (a somewhat awkward) to have so many laughs in a movie where the infamous 1963 Presidential motorcade, and subsequent assassination, form the backdrop.

Director Rob Reiner presents LBJ in all his crude and gruff glory, but also shows the ultimate politician – a man who was constantly negotiating. Intimidation was always part of the LBJ motif, and the film effectively displays the tactics used by John and Bobby Kennedy (Jeffrey Donovan, Michael Stahl-David) to take the wind out of LBJ’s sails after the election.

There are reenactments throughout the film that place us back in the middle of iconic images seared into our memories … the motorcade after the shots, the scene at Parkland, and the swearing in aboard Air Force One with Jackie still wearing her blood-stained Chanel suit. This was an incredible time in our history, as the nation was emotionally shattered. It’s for this reason that much of the film seems disjointed or misguided. Too much (or maybe not enough) attention is on LBJ’s strained relationship with Georgia Senator Richard Russell (Richard Jenkins), one of the most racist men we’ve seen on screen. Their discussion of race relations while being served dinner by the black woman is beyond uncomfortable – yet still somehow too stagey.

Most of the film is spent on LBJ’s time as Senator and Vice President, with only the final act being about his famous networking upon ascending to the Presidency … after which the entire focus is on the Civil Rights Act. The flow of the film seems a bit off, though most will enjoy watching Harrelson’s performance – especially when paired with Jennifer Jason Leigh’s Lady Bird. Together, the two almost rescue the script.

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Posted by David Ferguson

THE KILLING OF A SACRED DEER (2017)

October 26, 2017

 Greetings again from the darkness. When we become a spouse and a parent, we immediately develop a mode of protection never before experienced. We would do anything possible to protect our kids and spouse – even die for them if necessary. One of the most gifted and imaginative filmmakers working today forces us to consider a terrifying scenario: what if we had to select one of our family members to die?

Yorgos Lanthimos delivered the most bizarre and interesting film of 2016 with THE LOBSTER. This time out he re-teams with co-writer Efthymis Filippou, although this story eschews the dark humor of their previous film, opting instead for a type of gut-wrenching psychological warfare we have not previously witnessed on screen.

The goal here is not to make the viewer uncomfortable. Mr. Lanthimos wants us downright miserable from the tension. This is obvious from the opening scene as Schubert accompanies a close-up look at open-heart surgery, and continues through the awkward conversations and speech patterns as we get to know the characters. A terrific Collin Farrell plays the surgeon Dr Steven Murphy. Nicole Kidman is his wife (also a doctor), and their kids Kim and Bob are played by Raffey Cassidy (TOMORROWLAND) and Sunny Sulgic, respectively. The wild card is Barry Keoghan (DUNKIRK) who plays Martin, the most charming and oddball stalker who is hell bent on revenge and retribution. Keoghan is quite brilliant in this most difficult role.

Beyond the psycho-revenge plot lies a story of survival and atonement, making for an excruciatingly unsettling time in the theatre. We feel the vice tightening on us as the tone shifts from uncertain awkwardness to dark sinister intentions. Director Lanthimos and his regular cinematographer Thimios Bakatakis are in perfect sync with the various harsh angles (high and low spiked with screeching violins) and the necessary tight shots to emphasize the uneasiness and confusion of the characters.

Alicia Silverstone is quite memorable in her one scene as Martin’s mother. Frustrated that her flirtations with Steven aren’t reciprocated, she belts out the year’s greatest line of dialogue: “I won’t let you leave until you’ve tried my tart!” Of course, we couldn’t expect sexual relations to be any closer to normal than the conversations, and Ms. Farrell and Ms. Kidman ensure this to be so. Truly at the peak of the acting profession, Ms. Kidman has never shied away from tough material or less-than-ideal characters. Her strength and determination come through in every scene here, and it’s her scene at Martin’s home where she really puts her stamp on the film.

As difficult as it is to describe the film without giving anything away, one thing is certain – it’s a horror film. It’s difficult to imagine a more frightening scenario than what shakes out here with touches of both SOPHIE’S CHOICE and THE DEER HUNTER, while also having nothing in common with those films. The film’s title comes courtesy of Euripides, and its suspenseful awkwardness at a level rarely seen. The next feature from Mr. Lanthimos (starring Emma Stone and Rachel Weisz) is due next year, and if the line was forming now, I’d be in it.

 

 

 

 

 

 

 

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Posted by David Ferguson

WONDERSTRUCK (2017)

October 26, 2017

 Greetings again from the darkness. If you know an adolescent who is ready to step up from comic book movies, this would be a terrific introduction to more emotionally dramatic and narrative-driven cinema. That’s certainly not meant to imply that director Todd Haynes’ latest is only for kids, or even that it’s aimed at that demographic. Instead, it’s the rare opportunity to follow two intersecting story lines over two different time periods with kids as the main focus, and have some very interesting post-movie discussions related to characters, eras, and filmmaking techniques.

We follow the stories of two kids who are separated by 50 years. Although the time boundary exists, the similarities between their journeys are many. Each is running away from home in search of their roots and identity. They are both hearing-impaired and living in less than ideal family environments. Additionally, their footsteps cross many of the same places in New York City as two museums play key roles.

Ben (Oakes Fegley, PETE’S DRAGON) is a 12 year old living in Gunflint, Minnesota. It’s 1977 when his mother (Michelle Williams) dies unexpectedly and a freak accident takes his hearing. Convinced an odd bookmark is a clue to finding the father he’s never met, Ben sets off for New York City. Rose (remarkable first time actress Millicent Simmonds) lives in 1927 Hoboken, New Jersey and is obsessed with silent screen star Lillian Mayhew (Julianne Moore in a dual role). Rose is an artistic child whose domineering dad has little time for her, so she hops aboard the ferry and heads to the big city to track down an idol – who may be more closely tied than we first imagine.

Brian Selznick adapted the screenplay from his own novel (he also wrote “The Invention of Hugo Cabret”, which was the basis for Scorcese’s HUGO), and some may find the two story lines muddled or difficult to follow. However, for those who connect with the characters and their adventures, it’s a fascinating and entertaining ride. Director Todd Haynes (FAR FROM HEAVEN, CAROL) has established his expertise in visual stylings, and here he gets to present two distinct looks for the separate eras. Ben’s 1977 world is filled with the polyester and neon colors of that era and it’s even given the washed-out look of 1970’s cinema. On the opposite end of the spectrum, Rose’s 1927 world is presented in black and white as a silent movie. The lack of dialogue allows us to focus on her facial expressions and body language, which tell us what we need to know.

The American Museum of Natural History plays a significant role in both stories, and the Queens Museum is central to the finale which ties up the two pieces for us. The contrasts of the two eras are as vital as the similarities. Along the way, each of the kids gets a bit of help. Ben befriends Jamie (Jaden Michael) whose connection to the museum and the city provides Ben a boost, while Rose’s much older brother Walter (Cory Michael Smith) also has a connection to the museum and helps put Rose on the right track. The distinct photographic styles help us easily switch between eras, and much credit goes to cinematographer (and frequent Haynes collaborator) Edward Lachman and editor Affonso Goncalves.

Oscar Wilde’s quote, “We are all in the gutter but some of us are looking at the stars”, takes its shot as the theme for the two stories, and really it’s a heartfelt film with interesting storytelling and unusual cinematic effects. The set design is terrific throughout, and especially vital during the silent movie segments of Rose’s story. Carter Burwell’s prominent score also effectively shifts styles between stories and eras. The ties that bind us – a core need to understand our roots – do so regardless of age and time period. This is a nifty little film that provides much to discuss and consider.

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Posted by David Ferguson

ALL I SEE IS YOU (2017)

October 26, 2017

 Greetings again from the darkness. Director Marc Forster has crafted a career of making movies that are readily watchable, though for the most part, not especially memorable. These include: FINDING NEVERLAND, STRANGER THAN FICTION, QUANTUM OF SOLACE, WORLD WAR Z, and his best film, MONSTER’S BALL (2001). His latest falls short of those, but thanks to Blake Lively and some creative visuals, we remain interested enough.

This is Ms. Lively’s follow up to last year’s surprise summer hit THE SHALLOWS, her nearly one-woman sea-based spectacle. This time out she does an admirable job of carrying the film in spite of script flaws. It’s co-written by Sean Conway and director Forster, and despite teasing some fascinating psychological aspects, we find ourselves constantly waiting for the movie to show us what we already know is about to happen. Predictability is rarely an asset for a film, and here it acts as a ball and chain to the pacing.

The first third of the film works to establish two things: what Gina’s (Lively) daily life is like as a blind person, and the type of relationship she and her husband (Jason Clarke) have. We get an abundance of distorted light flashes to simulate what she has lived with since the car accident that took away her parents and her vision during childhood. Her marriage finds her very dependent on her husband and Clarke’s character thrives on this … even giving brief glimpses of his demented personality that will eventually take over the film in the final act.

Gina’s doctor (Danny Huston) performs a transplant which successfully restores her vision. The bulk of the story revolves around the changes that vision brings to her life and how the marriage begins disintegrating. The best message here is what happens to a relationship as the individuals change and evolve. Specifically in this case, the wife gains an entirely new perspective, while the husband longs for the days where she was dependent on him.

At times it feels as if director Forster is working hard to create the look and feel of an experimental movie, rather than focusing on the story. There are some interesting visuals provided by locations and camera angles, although the moody atmosphere never really clicks. Ms. Lively singing “Double Dutch” provides an ending that is both odd and mesmerizing in a strange way. We are reminded that evil and self-centeredness can take on many forms, though this film never quite packs the dramatic punch it might have.

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Posted by David Ferguson

GOODBYE CHRISTOPHER ROBIN (2017)

October 19, 2017

 Greetings again from the darkness. Are you ready for a family-oriented movie based on the origins of the universally beloved children’s character “Winnie the Pooh”? Well, despite the PG rating, this is not one for the kids – no matter how much they adore the cuddly, honey-loving bear. When you realize it was directed by Simon Curtis (WOMAN IN GOLD) and co-written by Frank Cottrell Boyce (MILLIONS), filmmakers known for their crowd-pleasing projects, the final version could be considered borderline deceitful.

It’s 1941 when we first see A.A. Milne and wife Daphne receiving an unwanted telegram whilst tending the English garden. We then flashback to 1916 when Mr. Milne was serving on the front lines of WWI, and returned with a severe case of shell-shock (described as PTSD today). His episodes can be set off by bees, balloons, and bulbs. This affliction also has him in a deep state of writer’s block accompanied by a need to write an important anti-war manuscript.

Domnhall Gleeson plays the famous writer and Margot Robbie his wife. The 1920 birth of their son Christopher Robin makes it clear that lousy parenting exists in every era. Neither father nor mother have much use for their offspring, so they enlist the help of a Nanny Olive, played by Kelly Macdonald. Does it sound like a wonderful family flick so far? Well things do pick up when C.R. is shown as an 8 year old played by screen wonder Will Tilston. His bright eyes and dimples so deep we wonder if they are CGI, bring joy to the viewers, even if the parents remain icy and self-centered.

The film’s middle segment allows father and son to bond on long walks through the 100 acre wood, and we are witness to how the toys become the familiar icons of children’s stories: Winnie the Pooh, Eeyore, Piglet, Kanga, Roo, and of course, Tigger. The picturesque English countryside makes a beautiful setting for the adorable and energetic C.R., known at home as Billy Moon (nicknames abound in the Milne household).

Unfortunately, the father-son segment leads to even more atrocious parenting. After the book is first published in 1926, young Christopher Robin becomes little more than a marketing piece for the family business. The walks in the woods are replaced by radio interviews and publicity appearances. No matter how Nou (the nickname for Nanny Olive) tries to bring normalcy to the boy’s life, the parents remain oblivious to what is happening.

Alex Lawther appears as the 18 year old Christopher Robin. He’s committed to serving his duty in WWII after surviving boarding school bullying and hazing. Equally important to him is escaping the shadow of the celebrity childhood, and finding his own identity – one that is not associated globally with a fuzzy bear. The innocence of childhood stolen by selfish parents is painful to watch, whether 90 years ago with the Milne’s, or today with any number of examples.

The 3 reasons to watch this film are: the photography is beautiful (cinematographer Ben Smithard), those other-worldly dimples of a smiling boy, and the near-guarantee that you will feel better about yourself as a parent (if not, you need immediate counseling, and so does your kid). In this case, being a well-made movie is not enough. The film is a bleak downer with the few exceptions teasing us with the infamous whimsy of the classic stories. Sometimes pulling the curtain back reveals a side of human nature akin to war itself. We are left with the impression that the audience and readers are to blame – being held accountable – for the misery suffered by the real Christopher Robin. Crowd-pleaser? More like the blame game.

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Posted by David Ferguson

THE FLORIDA PROJECT (2017)

October 18, 2017

 Greetings again from the darkness. “The Happiest Place on Earth” has long been a Disney catchphrase. The irony for those living on the road to Disney World is the focus of the latest from ground-breaking filmmaker Sean Baker. Mr. Baker was the creative force behind the remarkable TANGERINE (shot entirely with iphones) a couple of years ago, and his most recent film solidifies his brilliance at bringing us the fringes of society – those we don’t typically see on screen. Beyond that, these are the folks many of us pay little attention to in real life.

The Magic Castle Motel is a lavender monstrosity that belies the daily struggles of those who live behind its purple doors. It’s actually a seedy extended-stay that caters to ultra-budget guests. Included among those are 6 year old Moonee (Brooklyn Kimberly Prince) and her friend Scooty (Christopher Rivera). As we watch them spit on a car below their perch on the motel balcony, we quickly judge these as kids with a bit too much free time and a shortage of parental guidance.

As the summer days roll on, we tag along as Moonee leads Scooty and their new friend Jancey (Valeria Cotto) in some boundary-pushing adventures. Their fun ranges from typical kid mischief to accidents with more serious ramifications. The brilliance here is that through the child’s eye, we see joy and excitement and fun. We hear the purity of giggles and giddy screeches as the kids bound between tourist traps, ice cream parlors, and rooms forbidden as off-limits. All of this miscreant activity occurs amidst the adults who trudge on simply trying to survive another day.

While we might be tempted to recall Cat Stevens’ lyrics, “while the sinners sin, the children play”, it’s director Baker that refuses to pass judgment. Moonee’s mother Halley (Bria Vinaite) was recently fired from her “dancing” job, and is now constantly on the prowl to make enough money to cover the weekly motel bill. She clearly loves her daughter, but is too proud and angry, and just has no idea of how to pull out of this vicious cycle of poverty. The artificial dreams that are prevalent in so many films have no place at the Magic Castle Motel. It’s about the next meal and keeping a roof above.

Don’t go searching for plot here. Instead, at times it feels like a documentary on Moonee or the spirited need for fun and laughter that is in the DNA of kids. We are just following a real kid around, and that’s a tribute to the marvel that is Brooklyn Kimberly Prince. She steals every scene and most of the movie … and that’s in spite of the terrific performances from Ms. Vinaite and screen vet Willem Dafoe. It’s a rare “normal” role for Mr. Dafoe, and he makes the most of it as Bobby, the motel’s manager. He is also a father figure, mediator of disputes, bill collector, and protector of damaged souls. With no hint of saccharine or Hollywood mush, Bobby is unable to detach emotionally from those who live at the hotel, not because he is soft, but rather because he is human. We see his demeanor change drastically when the owner of the hotel arrives for inspection. Bobby understands the fragility of his own situation due to what he witnesses each day.

Director Baker is a master of color use and the blending of abrupt framed images with the handhelds in close proximity within motel rooms and personal interactions. His story (co-written with his TANGERINE and STARLET collaborator Chris Bergoch) never feels condescending, preachy or romanticized. There is no blatant political statement being made. These are folks living their lives as best they are able within the confines of their situation. The police and Child Protective Services are always hovering as a reminder that the next mistake could significantly alter lives. Somehow, the film is both hilarious and heart-breaking. The obvious comparison is to last year’s MOONLIGHT, and it could even be viewed as a prequel to AMERICAN HONEY. Mostly it’s a slice of rarely seen life and further proof that Sean Baker is already an important filmmaker, and one that likely has more to say. As for the debate around the final scene, does it really matter? There is no better place for a child to escape reality … even if it might only be in their mind. Sometimes that’s the only escape we get.

watch the trailer:

 

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Posted by David Ferguson

LOVING VINCENT (2017)

October 13, 2017

 Greetings again from the darkness. For those skeptics who scoff when filmmaking is described as an art form and labor of love, co-directors Dorota Kobiela and Hugh Welchman invite you to take in their nearly decade-in-the-making project. It’s the first fully hand-painted on canvas feature film – experimental filmmaking crafted by more than 100 artists and including an estimated 130 paintings, with 65,000 individual shots/frames.

The spectacular visuals were created by painting over the images … both of actors performing scenes and van Gogh’s paintings. By adding to and amending images, even 10 times or more, the scenes come to life with movement and a pulsating psychedelic feel. The familiar colors of his paintings create a level of connection, while black & white images are used for flashbacks and reenactments.

Though we have never seen this look on screen before (this goes beyond Linklater’s WAKING LIFE), the stunning visuals are accompanied by what can be described as a detective story or murder/suicide mystery. It picks up in 1891, one year after van Gogh’s suspicious death. A local Arles postman holds one last letter from Vincent to his beloved brother Theo. Having held onto it for much too long, he asks his son Armand Roulin to hand-deliver the letter to Theo. Sporting the yellow blazer so recognizable from his portrait, the angry and skeptical Armand heads to Paris. Little does he know, this is only the beginning of his journey … a journey that finds him researching Vincent’s life and a journey that helps him discover more about himself.

There have been many movies made focusing on this amazing artist: LUST FOR LIFE (1956), VINCENT (1987), VINCENT & THEO (1990), and VAN GOGH (1991). This one is filled with contrasting and conflicting stories, theories and recollections, and descriptions of events from those who crossed paths with the artist on a daily basis. We listen right along with Armand as he spends time in Avers-sur-Oise … where Vincent lived, painted, and died.

Many of the actors involved are recognizable even in this artistic format: Chris O’Dowd is the postman, Douglas Booth is Armand, John Sessions plays art supplier Pete Tanguy, Eleanor Thompson is the innkeeper’s daughter Adaline, Jerome Flynn is the controversial Dr. Gachet, Saoirse Ronan is Gachet’s daughter Margarita (recognizable from her piano portrait), Helen McCrory plays the disgruntled Gachet housekeeper, Aidan Turner is the boatman, and Robert Gulaczyk is Vincent. Since these folks were all part of van Gogh’s artwork, we are fascinated to see them come to “life”.

Vincent van Gogh picked up a brush for the first time at age 28. He was dead at age 37, and left behind approximately 800 paintings of portraits and landscapes – many among the most famous pieces in the world today. Did he try to commit suicide as he claimed or was there a more sinister explanation for his death? Of course the filmmakers only hint at possible answers and can’t solve a mystery that is approaching two centuries. Understanding the man is challenging, and perhaps our best hope is through the work he left behind. This is a compelling cinematic experience and we have certainly benefitted from the filmmaker’s labor of love. Clint Mansell’s score leans heavily on strings and piano, and is perfect accompaniment for the story. One could question the closing credits use of Lianne La Havas’ version of “Vincent” (renamed “Starry Starry Night”) rather than Don McLean’s, but one mystery per day is plenty. Spot the paintings, play detective, and mostly enjoy the visuals built on the works of a complex, talented, and tragic figure.

watch the trailer:

 

 

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Posted by David Ferguson

MARSHALL (2017)

October 12, 2017

 Greetings again from the darkness. The question must be asked: is the movie worthy of the man? The man was the first attorney for the NAACP. He won 29 of the 32 cases he argued in front of the U.S. Supreme Court, including the ground-breaking 1954 Brown v. Board of Education (separate but equal public education). This man was a trailblazer for Civil Rights, and in 1967 became the first African-American Supreme Court Justice. This man was, of course, Thurgood Marshall … a man who unquestionably deserves not just a movie, but a really good and important one.

Chadwick Boseman has taken on film versions of such icons as Jackie Robinson in 42 and James Brown in GET ON UP, so he likely jumped at the chance to play the revered figure, Thurgood Marshall. Mr. Boseman has true movie star screen presence, and supplies the young Mr. Marshall with a self-assured swagger that accompanies a brilliant legal mind – a mind that refused to be ignored during a time it was desperately needed. Lest he be labeled a superhero, the film does portray Marshall smoking and drinking, while also hinting at his carousing. The common flaws of a great man.

It’s 1941 and the young (33 years old) Marshall is the lone NAACP attorney, so he spends his time ping-ponging around the country fighting for fair trials for those African-Americans accused simply because they aren’t white. He works only for “innocent” people and his efforts during this time were crucial to the Civil Rights movement gaining attention and legitimacy. Most of the film centers on a case in Connecticut (no, not the Jim Crow south) where a black man, Joseph Spell (Sterling K Brown), is accused of sexual assault of a “respectable” married white woman, Eleanor Strubing (Kate Hudson). If you are reminded of the great book and film TO KILL A MOCKINGBIRD, you must know that those literary and cinematic standards are such that few can ever hope to reach.

What follows is not one of the more dramatic or tension-filled cinematic courtroom dramas. There is simply too much levity for the film to be classified as a historical heavyweight. That said, the man and his story are fascinating, and though director Reginald Hudlin chooses a deft touch rather than a sledge hammer, it’s likely the wise choice if the goal is to entertain, while also educating the masses to Marshall’s early career. Josh Gad co-stars as Marshall’s co-counsel Sam Friedman, a specialist in legal technicalities within the insurance industry. Boseman and Gad have nice chemistry (at times it feels like a buddy movie), and as a Jew in those times, Friedman is himself stuck in limbo between staunch racism and acceptance by the white community.

James Cromwell plays Judge Foster, yet another man caught between the old world he has lived in his entire life and the fast-changing society and legal system that permits him to silence Marshall, while also forcing (somewhat) fair treatment of the accused Spell. Dan Stevens (BEAUTY AND THE BEAST) is Loren Willis, the disgusted and disgusting prosecutor. This character is so cartoonish that the only thing missing is a neon necklace that flashes “racist” as he speaks. Sophia Bush has a brief, yet important scene and Sterling K Brown (as Mr. Spell) has the film’s most heart-breaking moment as he sits on the stand and explains why he lied.

Director Reginald Hudlin seems like an odd choice for the project. He has been working mostly in TV since back-to-back-to-back bombs BOOMERANG (Eddie Murphy), THE LADIES MAN (Tim Meadow) and SERVING SARA (Matthew Perry). Mr. Hudlin has experienced more success as a Producer, having been Oscar nominated for DJANGO UNCHAINED. Here he works with the father and son screenwriters Jacob Koskoff and Michael Koskoff. The elder Michael is a well respected criminal attorney and legal historian, and certainly understands the expectations that come with offering a public look at a near-mythical figure … especially one as revered as Thurgood Marshall.

This isn’t so much a movie about the icon as it is about a young man on the path to greatness and importance (he served on the Supreme Court from 1967-1991). The soundtrack is filled with jazz which complements the light-hearted approach, and further distances from any semblance of “heavy” or “historical”. Director Hudlin adds a contemporary touch by having Trayvon Martin’s parents (Sybrina Fulton, Tracy Martin) appear in a scene near the end. On the downside, multiple upshot camera angles are designed to make his lead character look larger than life. The truth is, Thurgood Marshall required no help in looming large. Hopefully this mainstream approach pays off and many are introduced to the legacy of a man who is more than worthy of this movie … and another.

watch the trailer:

 

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Posted by David Ferguson

PARADISE (Rai, Russia, 2017)

October 10, 2017

 Greetings again from the darkness. Hollywood, and the movie industry as a whole, absorbs a fair amount of criticism for the perceived lack of originality and creativity in this era of remakes and sequels. However, filmmakers also deserve some credit for constantly finding fresh stories associated with The Holocaust and World War II – seemingly endless sources of material for new movies. As Russia’s official Oscar Foreign Language entry, this film from director Andrey Konchalovsky (co-written with Elena Kiseleva) offers up three distinct perspectives of the same tumultuous period.

Julia Vysotskaya plays Olga, a former Russian Countess and member of the French resistance. Ms. Vysotskaya is the wife of director Konchalovsky and has a screen presence somewhat reminiscent of Ingrid Bergman with her ability to appear alternatingly tough, loving, sensitive and stubborn. Her character Olga has been arrested for sheltering two Jewish boys. Philippe Duquesne is Jules, the lead detective assigned to Olga’s case. His questionable loyalties are accompanied by a weakness of the flesh that is all too common among those in a position of power. Christian Clauss plays Helmut, a nobleman and German SS officer who is emotionally torn between his personal desires and his duty to the cause of his country.

The story is told from the perspective of each character through a blend of flashbacks and interviews. Harsh lighting, stark surroundings, and their respective wardrobes during the interviews appear to show each being held captive as they are interrogated by an entity that remains unheard and unseen. The interviews provide some insight into the characters, but almost seem intent on keeping us off-balance as the film progresses. It’s really the flashbacks that are the most interesting and provide the fascinating details for Olga, Jules, and Helmut.

Beautifully filmed in black and white with an excellent use of lighting effects by cinematographer Alexander Simonov, the tangled web of paths intersecting during war time offers some terrific sequences: a father and son on a morning walk, an isolated and guilt-ridden officer in a fog-draped forest, the immediate scavenging after an unexpected prisoner death, the excruciatingly emotional deportation of Jews, and a remarkable sequence involving a meeting with Himmler and Helmut’s subsequent mission to audit the concentration camps.

The brief flashes of joy are usually crushed by the weight of despair and bleakness, yet by the end, we believe we know each of these characters – and what motivates them. Director Konchalovsky’s film is an unconventional, creative, and ambitious combination of The Holocaust, Germany’s quest for perfection, and the greed and daily desperation of those involved. The interviews might not be what you assume, yet cause us to wonder how might our own interview sound while reminding us that, no matter the circumstances, we can always choose to do good.

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Posted by David Ferguson

WALKING OUT (2017)

October 5, 2017

 Greetings again from the darkness. Man vs Nature movies tend to remind us of both our tenacity when things go badly, and our lack of control or overall insignificance in the big picture of life. This tends to be true in the mountains, on the water, under the ocean, in caves and in space. Twin brothers Alex Smith and Andrew J Smith have adapted and co-directed this film from a short story by David Quammen. The filmmakers were raised in Montana, and have an inherent feel for the stunning and often treacherous landscape.

Matt Bomer, in a sharp left-turn from his usual pretty-boy roles, plays Cal, a live-off-the-land mountain man with seemingly few needs outside of food, water and a desire to connect with his teenage son through a hunting trip. Josh Wiggins (who exploded on the scene in 2014’s HELLION) plays David, a suburban Texas boy who is out of his element without his cell phone. The opening panoramic view of snow-covered mountains is contrasted with David’s engrossed concentration on his hand-held video game as the plane approaches the landing zone. “How was your year?” is David’s greeting from Cal, instantly elucidating their relationship.

Cal excitedly reports to David that he has been tracking a bull moose for 11 weeks, and wants this to be David’s first big game kill. We are constantly reminded that this isn’t trophy hunting, and that this single moose will provide Cal enough meat for a year. David has no real interest in killing a moose, but longs to connect with his father … and “longs” is interpreted through the teenager’s shrugs, glances and body language. Wiggins plays David with the subtle authenticity of the teenagers most of us have known, raised, and at one time, been.

As Cal explains the history of the mountains, he also works in stories of his youth when his father (David’s grandfather) was teaching him the ethics of nature. Numerous flashbacks feature Bill Pullman and Alex Neustaedter (as young Cal). The flashbacks are a bit artsy, and sometimes intrusive, but in the end, form a parallel story structure that works.

A couple of poor decisions lead to an accident that could be straight out of the Dick Cheney’s field guide to hunting. Cal and David are both injured – Cal severely so. It’s at this point where David must grow up quickly. The skills he has learned, or at least absorbed, are now necessary if he expects to save his father’s life. What was a story of two polar opposite blood relatives trying to connect, transitions instantaneously into one of survival, maturity, persistence, and love.

Movies such as THE REVENANT and THE EDGE come to mind, but this one is short on thrills, and is instead a trudging struggle to survive – taking a quiet approach, rather than a showy one. Lily Gladstone, fresh off her terrific work in CERTAIN WOMEN, has a brief sequence near the film’s end. The beautiful landscape and terrain is captured by cinematographer Todd McMullen, while Ernst Reijseger’s score effectively complements the odd mixture of slow pacing and non-stop danger. Whether you are trying to live a reclusive life off the land, or simply one of the many parents attempting to connect with their kids, keep in mind that regardless of the beauty of the mountains, “snow is not our friend”.

watch the trailer:

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Posted by David Ferguson

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