PERSONAL SHOPPER (2017)

March 10, 2017

 Greetings again from the darkness. This is quite probably the first ghost story where the most suspenseful moments center on the texts popping up on a smart phone screen. From writer/director Olivier Assayas (Clouds of Sils Maria), this one is more than a ghost story – it’s also a story of grief, a search for identity, and yes, that desire or need to connect with the afterlife.

It’s important to note that the film kicks off not with Maureen (Kristen Stewart) carrying out her duties as described in the title, but rather by being dropped off at a once grand country home, now abandoned and the source of some terrific sound mixing. Creaking floorboards, squeaking doors and groaning walls all serenade Maureen as she spends the night in search of the spirit world. We soon learn she was actually hoping to connect with her recently deceased brother Lewis … a twin with whom she had a pact that whomever passed first (they shared a heart “malformation”) would make contact with the other from beyond.

Maureen then returns to her day job as personal shopper and all-around go-fer to her egotistical celebrity boss Kyra (Nora von Waldstatten), a high profile fashion model whose snooty ways have Maureen spewing hatred of her job during Skype sessions with her long-distance boyfriend Gary (Ty Olwin). With incessantly slumped shoulders, Maureen zips around Paris on her scooter toting shopping bags filled with expensive dresses, jewelry and shoes. She’s on the outskirts of wealth and celebrity, but the to-do notes and lack of personal interaction with Kyra epitomize how far outside the circle Maureen really sits.

There are moments of acting support from Sigrid Bouaziz as Lewis’ girlfriend, and Lars Eidinger as a suspiciously low-key creep, but it’s Kristen Stewart who carries the full weight of the film, and continues her streak of very interesting work. She does so in a manner not shy about showing her body, but also with the authentic body language of someone whose frustration grows with each successive text from “unknown”. As a modern twist to the traditional thriller, the film also ties in the past with such touches as Swedish mystic Hilma of Klint and amateur spirit hunter Victor Hugo. It’s understandable how Mr. Assaya’s film received both boos AND a standing ovation at Cannes … no one is really sure how to react to the first texting ghost story!

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Posted by David Ferguson

THE OTTOMAN LIEUTENANT (2017)

March 10, 2017

 Greetings again from the darkness. A story of romance smack dab in the middle of war is always a bit risky and sometimes difficult to sell. Make it a love triangle and toss in distinct religious differences, and if it’s not a mess, it’ll do till the mess gets here (a sentiment borrowed from the Coen Brothers).

This is director Joseph Ruben’s first feature since The Forgotten (2004), and he’s also known for Sleeping with the Enemy (1991), the breakout dramatic role for Julia Roberts after Pretty Woman. The film is written by Jeff Stockwell, who is best known for Bridge to Terabithia (2007), and the script leans heavily on melodrama while also sprinkling in some acts of war.

Hera Hilmar (who favors Abbie Cornish) stars as Lillie Rowe, a head-strong free-thinking nurse living a life of privilege in 1914 Philadelphia, but committed to an ideal of justice for all. She meets a handsome and equally idealistic Dr Jude Gresham (Josh Hartnett) who is fundraising for his hospital located in the remote hills of Turkey. Circumstances are such that a Turkish officer is assigned to escort Lillie to Gresham’s hospital. As if enough sparks haven’t already flown between Jude and Lillie, it’s pretty clear that the attraction between her and Ismail (an excellent Michiel Huisman, “Game of Thrones”) is even stronger. The fourth key character here is Jude’s partner, Dr. Woodruff (Sir Ben Kingsley), whose immediate dislike of Lillie is quickly dispensed once she exhibits her medical competency.

Lillie is warned … war is coming. It’s WWI and it’s the Muslim Ottoman Empire vs the Christian Armenians. To label this revisionist history is an understatement. The 1915 Armenian Genocide is only alluded to with passing mention that the Ottomans “took steps” to control the Armenians. Even in such a lightweight and hokey melodrama, an omission like that jumps out. Whether it’s selective memory or outright propaganda, it seems obvious that the Turkish financiers were hoping to make a political/historical statement hidden behind a romantic triangle wrapped in war. The sweeping score by Geoff Zanelli and the beautiful cinematography of Daniel Aranyo both emphasize the romance aspects, while minimizing the fighting and cultural clashes.

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Posted by David Ferguson

TABLE 19 (2017)

March 3, 2017

table-19 Greetings again from the darkness. Writer/director Jeffrey Blitz (Spellbound) takes the approach that many wedding guests would prefer – he skips the wedding and heads straight to the reception. Another wise move by the filmmaker is assembling a very talented ensemble of funny folks. This cast proves they can wring a laugh from dialogue and moments that would probably otherwise not elicit much of an audience reaction. Instead, the full house on this evening had quite boisterous responses on numerous occasions.

The initial set-up drags a bit as we are introduced to the characters that will soon enough populate Table 19 at the reception. Tony Revolori (The Grand Budapest Hotel bellhop) is Renzo, the longing for love (or anything similar) high schooler who might be a bit too close to his mother (voiced by the great Margo Martindale). Lisa Kudrow and Craig Robinson are the Kepp’s, a mostly unhappily married couple who own and run a diner together. June Squibb is Jo, the bride’s long-forgotten nanny who sees and knows more than most. Stephen Merchant plays the outcast nephew/cousin who has been recently released from his prison sentence for white collar crime. Lastly we have Anna Kendrick as Eloise, the fired maid of honor and former girlfriend of the bride’s brother (Wyatt Russell), who also happens to be the best man and now dating the new maid of honor.

This is the island of misfit wedding guests known as Table 19, and purposefully placed in the back corner as far as possible from the family and favored guests. Of course we know immediately that this Team Reject will unite for some uplifting purpose at some point, and the movie improves immediately once that goal has been revealed. Comedic timing in a group setting can often come across on screen as forced, and it’s a tribute to the cast that these characters come across as human and real.

Make no mistake though, this is Anna Kendrick’s movie. She plays Eloise as we would imagine Anna Kendrick in this real life situation. Sure, a wedding reception is low-hanging fruit for comedy, but it’s the third act where Ms. Kendrick’s talent really shines. Comedy drawn from emotional pain is the most fulfilling because we’ve all been there. The melodrama that creeps in is pretty predictable, but that doesn’t mean it’s not a good time. The scenes with Ms. Kendrick and Wyatt Russell (Everybody Wants Some!, and Kurt and Goldie’s son) are the best, and it leaves us wishing for more attention to both.

Don’t worry, the film features the required wedding cake mishap, a flirtatious wedding crasher (Thomas Cocquerel) and a drunken mother of the bride singing karaoke to Etta James’ “At Last”. It’s designed to be a crowd-pleaser, and mostly succeeds with a nice blend of silly, cute, and emotional tugs.

watch the trailer:

 

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Posted by David Ferguson

WOLVES (2017)

March 3, 2017

wolves Greetings again from the darkness. Anthony is a good kid with a bright future. He’s a star basketball player and a bright student, and has a loyal girlfriend and seemingly normal home life. It comes as no surprise that most of those elements either aren’t as smooth as they seem, or are more complex than on the surface.

Writer/director Bart Freundlich (known for his 1997 debut feature The Myth of Fingerprints, and for being married to Julianne Moore) slowly unveils the cracks in Anthony’s (Taylor John Smith) façade. His college professor dad (the always great Michael Shannon) is a drunk, abusive man with a short fuse and severe gambling addiction. He’s the kind of guy who is always working on his great American novel, while juggling gambling debts and throwing down quiet jealousy of his son. His mother (Carla Gugino) has good intentions and clearly wants the best for her son, but she’s just not capable of standing up to the menace. It plays like a Maslow’s hierarchy of crappy parenting.

There are plenty of clichés that we’ve seen in many movies, but it’s a pleasure to see so much real basketball being played. Anthony has a sweet jump shot and a sweet girlfriend named Victoria (Zazie Beetz), and the interpersonal relationships all have nuances that come across as real life. Even Uncle Charlie (Chris Bauer) seems torn about which family member most needs his protection. Emotional-physical-financial strains abound and it all seems to crash down on Anthony as he strives to earn a college scholarship by impressing the coaches from Cornell.

As Anthony navigates the choppy waters towards independence, the film teases us with some sub-plots that could have been further explored. Anthony hits it off with an older, wiser street baller (John Douglas Thompson) who starts mentoring him. We also are given hope that Anthony’s mom will actually do something for her son rather than regretting what she hasn’t done. Lastly there is a quick tease as to an alternative past that would make some sense – though whether that’s real or imagined is left up to the viewer’s perspective.

The film ultimately plays like a Disney film that utilizes an inordinate number of “F-words”, and it even reminds a bit of the Paul Giamatti movie Win Win. It’s the acting and the periodic sequences of real emotion that allow us to remain interested in the characters right up until the end … even if our hopes differ from one of Anthony’s own parents.

watch the trailer:

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Posted by David Ferguson

THE SALESMAN (Forushande, 2016, Iran)

February 25, 2017

salesman Greetings again from the darkness. Iranian writer/director Asghar Farhadi won the Best Foreign Language Film Oscar for his 2011 A Separation, and with his latest (also Oscar nominated), he proves yet again that his unique approach to family/domestic dramas might best be described as simmering suspense artistry. He certainly knows how to tell a story and structure a film for maximum impact.

Shahab Hosseini (A Separation) and Taraneh Alidoosti (About Elly) star as Emad and Rana, a normal and seemingly happily married couple. One morning, some heavy equipment jeopardizes the stability of their apartment building and they escape to the streets. Husband and wife are both performing in a community theatre production of Arthur Miller’s “Death of a Salesman” and at that evening’s rehearsal, one of their castmates, Babak (Babak Karimi) offers the couple the use of a rooftop apartment … he has recently evicted the tenant.

Of course, this bit of luck comes with some baggage … specifically, the baggage and belongings of the previous tenant who (unseen to viewers) keeps telling Babak she will return for her stuff. Meanwhile, the neighbors inform Emad and Rana that the previous tenant and her “many acquaintances” (paying clients, if you get my drift) will not be missed. This history comes into play when one evening a home invasion leaves Rana dazed, injured and being treated at a local hospital. This sets off the cultural commentary about the roles and power of Iranian men vs women, as well as a psychological study of wounded pride, a need for revenge, and a scarred psyche who wishes to be neither alone nor coddled.

The strained marital relationship has some interesting parallels with the scenes depicted in the Miller play, and there are also a few key moments in the build-up … moments of subtlety for the discerning viewer. Foreshadowing occurs in a seemingly humorous moment when one of Emad’s students asks during class, “How does a man become a cow?”, and Emad answers “Gradually.” A throwaway line is never really that in a Farhadi script.

Most of the film centers on how Emad and Rana react to the traumatic event, and for the first two-thirds, it’s Emad’s movements that we follow. However, during the extraordinary final act, Rana becomes the focus and there is a tremendous performance from Farid Sajjadi Hosseini as an older gent in a key role. So much raw human nature is on display here – pride, revenge, forgiveness, trust, weakness, etc. It’s the type of film that has much going on even during the parts that might seem slow on the surface. Farhadi is an exceptional filmmaker, and evidently, he will just continue to prove it so.

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Posted by David Ferguson

A UNITED KINGDOM (2017)

February 23, 2017

a-united-kingdom Greetings again from the darkness. Sometimes I just know immediately that I’m going to be out of touch with popular opinion on a movie, and this historical-romantic-biopic from director Amma Asante (Belle) and screenwriter Guy Hibbert (Eye in the Sky) is one of those times.

It’s a crowd-pleaser featuring David Oyelowo and Rosamund Pike in a real life story with some similarities to last year’s Loving (the chronicle of Richard and Mildred Loving’s interracial marriage). Mr. Oyelowo plays Seretse Khama, a 1947 university student in London when we first meet him. Ms. Pike is Ruth Williams, a local Londoner working clerical at an insurance company when the two meet at a local dance. The attraction is immediate.

Not long after, Seretse discloses to Ruth that not only is he in love with her, but he’s also the King-in-waiting for Bechuanaland in Africa. The marriage is met with dissent from all fronts: family (racism), Seretse’s people (cultural and societal reasons), and Great Britain (mostly concerned with appeasing its ally South Africa and the growing notion of Apartheid). Seretse and Ruth believe their true love is strong enough to win over those dissenters. The backlash is much worse than anticipated.

A very cool element with the film is the use of the actual house Ruth and Seretse lived in, and the locals were more than willing to contribute. While the strength of these two individuals remains inspirational to this day, the film falters in a few ways. Both Jack Davenport and Tom Felton are stuck playing British foils in the overwritten manner in which we would expect from a 1940’s movie on TCM. Again acknowledging my out of step opinion, Ms. Pike simply lacks the range for such a role. Her deer-in-the-headlights go-to facial expression is a slap to the courageous woman she is portraying. However, the biggest issue with the film is its lack of continuity … its choppiness, if you will. So many scenes abruptly end right as the substance is beginning. Multiple times we are left hanging, wondering why we don’t get to finish a conversation or finalize a conflict. There are some terrific moments that are torn apart by the numerous butchered scenes, though the strong performances of Oyelowo and Terry Pheto (Tsotsi) as his sister shine through.

This is a terrific and interesting piece of history that deserved a better film. In 1966, Bechuanaland gained its independence and became what’s known today as Botswana, and the story of Seretse and Ruth is one that needs to be told. Most viewers likely won’t be bothered by the things that irritated me, and that’s probably a good thing.

watch the trailer:

 

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Posted by David Ferguson

AMERICAN FABLE (2016)

February 23, 2017

american-fable Greetings again from the darkness. The feature film debut of writer/director Anne Hamilton may cause Aesop to turn over in the grave, but it also supports the adage that desperate times call for desperate measures. Just how desperate is really the point here, and the moral line in the sand is drawn by an 11 year old girl named Gitty (short for Gertrude).

Gitty (an outstanding Peyton Kennedy) lives on a farm with her pregnant mother Sarah (Marci Miller), bullying brother Martin (Gavin MacIntosh), and beloved father Abe (Kip Pardue). Gitty is the kind of kid who loves stories with happy endings, has a pet chicken named Happy, and loves exploring the surrounding countryside with her friends … a dried water well, abandoned house, and lighting bugs are all part of their daily adventures. Only a remote silo is considered off-limits per her father.

It’s the 1980’s and times are tough for family farms. Making ends meet is incredibly challenging and the sagging economy has resulted in many sell-offs of generational farms and the subsequent suicides of farmers who simply can’t face the failure. Gitty blindly trusts her dad when he promises they won’t lose their farm. Doubt only enters her mind when she discovers a battered man (Richard Schiff) in business attire locked in that off-limits silo. The captive man tells her not to tell her dad, and instead asks her to bring food and books. Even an 11 year old cloaked in innocence begins to suspect something isn’t right.

We see the story unfold through the eyes of Gitty, and her fantasies, dreams and visions remind us just how the world looks to a kid. Her openness, curiosity and imagination all act as a kind of sixth sense that lead to the judgment of a child … what is right and what is wrong. Knowing Gitty is the source of our insight helps explain the near cartoonish evil perpetrated by Martin – an overanxious kid who sees himself as some type of “warrior” (an image bestowed by the mysterious Vera). Zuleikha Robinson plays Vera in the mold of a fairy tale witch influencing others … in this case, Gitty’s dad … to do her dirty work.

The film is beautifully shot by cinematographer Wyatt Garfield, and at various times recalls Pan’s Labyrinth, The Fall, and the camera work of Terrence Malick. Gitty’s character is easily compared to Scout from To Kill a Mockingbird, but her “Honest” Abe dad is no Atticus Finch. Richard Schiff is excellent as the captive man, while Peyton Kennedy reminds of a young Elle Fanning (very high praise indeed). Kids have an amazing ability to see the black and white of right and wrong despite all the extraneous noise going on in their young uncorrupted heads. It’s a shame it all turns to gray as we grow older. It’s a nice first film from Ms. Hamilton.

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Posted by David Ferguson

THE BRIDE (2016, La Novia, Spain)

February 16, 2017

the-bride Greetings again from the darkness. The pitch for this movie might have come across as blending a Greek tragedy with a romance novel, and then adding a dash of revenge. Fortunately director Paula Ortiz’s vision for the Federico Garcia Lorca play “Bodas de sangre” is more poetic and lyrical than such an overview would suggest.

Love triangles are the core of many stories and movies, but it’s the opening sequence here that clues us in that the trouble has already occurred, and though it removes some of the suspense of “what”, it certainly sets the stage for an interesting “how” and “why”.

Inma Cuesta plays Novia (billed only as the titular bride) who is engaged to Asier Etxeandia (billed only as Novio, the groom). The abundance of family stress (on both sides) has little to do with the wedding plans, and more to do with Leonardo (Alex Garcia). Leonardo is more than the local hunk who is always lurking about on horseback; he’s also the third wheel who can’t let go of his desire for Novia … in spite of his young child and pregnant wife. To make things messier, Novia seems to answer his heightened desire for her with her own uncontrollable passion for him.

It’s Yin and Yang. Safe and Dangerous. The bride’s conflicted choice leads the groom’s mother (Goya winner Luisa Gavasa) to be a foreboding presence throughout, and keeps most of the village on edge. Additionally, there is an element of mysticism as Maria Alfonsa Rossa appears periodically as the figure of death – and we are never quite sure of the motivations behind her advice.

Goya winner Miguel Amoedo provides beautiful cinematography that balances between fantasy, harsh realities, and the romance of the moment. There are many intimate close-ups, as well as some stunning desert wide shots of Leonardo riding the horse. The score and soundtrack are terrific, including Soledad Velez with a haunting version of Leonard Cohen’s “Take this Waltz”.

The concept of destiny vs. choice hovers over most scenes, and the twisted family and childhood histories give the film a Shakespearian feel. Last year, the film received numerous Goya nominations (including Ms. Cuesta, Ms. Ortiz, Mr. Garcia) are resulted in the wins for Ms. Gavasa and Mr. Amoedo. It may not make the best Valentine’s Day date movie, but it is an interesting watch from the romance-tragedy-revenge-horseback genre.

watch the trailer:

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Posted by David Ferguson

A CURE FOR WELLNESS (2017)

February 15, 2017

a-cure-for-wellness Greetings again from the darkness. It might seem peculiar for the director of the Pirates of the Caribbean franchise, The Lone Ranger, and the Oscar winning animated Rango to be the driving force behind an atmospheric Gothic mystery-thriller, but Gore Verbinski seems to ignore any attempt to generalize or label his films. In fact, this latest film (written with Justin Haythe) attempts to challenge genre conventions by cloaking us in familiar themes and expecting us to be surprised by the late twist.

Dane DeHaan has established himself as an actor with no boundaries. He has played characters as diverse as James Dean in Life, and Cricket in Lawless. This time he dons a business suit as Lockhart, an ambitious, young, morally flexible, workaholic financial hotshot. By bending a few FCC regs, Lockhart has maneuvered himself into a plush corner office on Wall Street, and is now strong-armed by senior management into taking on the less-than-appealing task of traveling to a “wellness spa” in Switzerland in order to bring back the CEO whose signature is necessary to complete a lucrative merger.

The cinematography of Bojan Bazelli is gorgeous throughout, and it’s literally breathtaking as we view the Manhattan cityscape, and then follow Lockhart’s train streaming through the Swiss Alps mountains and tunnels. These are the “wow” shots, but the camera finds beauty even once the story takes us inside the sanitarium with the dark history … and confounding present. The building’s history seems somewhat sinister, but its current day secrets are every bit as creepy. What exactly is the sickness that “the cure” is treating? Why does no one ever leave? What’s with the eels? What’s with the water? Why are teeth falling out? Why are the townfolks so off-put by those on the hill? What answers do the puzzles bring?

Shutter Island offers the most obvious comparison with its similar tone and atmosphere, but others that come to mind include The Island of Dr. Moreau, One Flew Over the Cuckoo’s Nest, and especially, Hitchock’s Rebecca. Verbinski makes marvelous use of sound throughout – whether it’s Lockhart’s creaking crutches, the squeak of doors, the drip of ever-present water, or the metallic whir of machines. The look, sound, and feel create the tension necessary to prevent viewers from ever really relaxing, even if we wish the movie wasn’t so darn long.

Filmed at Castle Hohenzollern in Germany, it’s a perfect example of how on filming on location adds an element that no soundstage can hope to achieve. Support work comes from some familiar faces like Jason Isaacs as Dr. Volmer, Celia Imrie, Carl Lumbly, Ivo Nandi, Harry Groener, and Adrian Schiller. However, it’s Mia Goth (Everest, 2015) who has the biggest impact on screen outside of DeHaan. Her unusual look and slightly-off mannerisms are perfect for the role of Hannah, who is so crucial to the twist.

Spanning two-and-a-half hours, the film abruptly flies off the rails in the final 15 minutes. It acts as a release for the stress it has caused, and as a reminder that director Verbinski likes to have fun with his films. It’s quite possible that the film will struggle initially to find an audience, but later find success as a cult favorite and/or midnight movie. Whether you deem it silly or creepy, love it or hate it, you’ll likely appreciate the look of the film and the creative surge of Verbinski. At a minimum, it will generate some talk about Big Pharma and how we seem to always be searching for a “cure” of the latest societal ailment … or you may just have nightmares about eels in your bathtub!

watch the trailer:

 

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Posted by David Ferguson

TONI ERDMANN (2016, Germany)

February 8, 2017

toni-erdmann Greetings again from the darkness. A list of the best German movies of all time would likely feature very few comedies. It’s not a country or culture that tends to laugh much at its history (for good reason) or itself. A case could be made that this latest little gem from writer/director Maren Ade belongs on such a list, and although it features several laugh out loud moments, whether it should be labeled a comedy is certainly worthy of debate.

Winfried (Peter Simonischeck) has been a mostly absentee dad, but now he is deservedly concerned about his daughter’s well being. He is intent on trying to get Ines (Sandra Huller) to let go of her uptight, high stress corporate persona and enjoy life a bit. It’s the kind of advice only those who have really lived can rightfully offer up … though you’ve likely never seen advice administered in such a creative and cringe-inducing manner.

Winfried’s alter-ego is Toni Erdman, a shaggy wig and false teeth wearing goofball who manages to insert himself into the most inconvenient and awkward moments for Ines and her business. His pranks are designed to illustrate just how ridiculous the workaholic treadmill is and how little joy accompanies such a work-a-day life.

Having been nominated for a Best Foreign Language Oscar, it’s easy to crown this as the frontrunner in the category. Ines’ birthday party shines a new light on the phrase “birthday suit”, and that sequence alone might have generated more laughter than I heard in a theatre all year. Yet despite the laughs and Toni’s shenanigans (and there are many), at its core, this is a film about loneliness and the emptiness of life without happiness. Perhaps you could call it a philosophical comedy, but it’s downright chilling to see the raw emotion of Ines as she belts out Whitney Houston’s “Greatest Love of All”, or finally strips herself (literally) of all pretense.

NOTE: it was recently announced that Jack Nicholson will come out of retirement and join Kristen Wiig in an American remake. As exciting as that seems, don’t let it stop you from seeing this original.

watch the trailer:

 

 

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Posted by David Ferguson

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