BEATRIZ AT DINNER (2017)

June 16, 2017

 Greetings again from the darkness. The movie industry frequently sources societal worries, concerns, issues and hot topics. It’s been less than 6 months, but here come the anti-Trump movies. Of course some will have clever disguises for their message, while others will slap us across the face. This re-teaming of The Good Girl director Miguel Arteta and writer Mike White actually uses both approaches.

Salma Hayek stars as Beatriz, a masseuse and holistic healer, who comes awfully close to being an angel on earth … unless she’s guzzled a bit too much white wine at your dinner party. Beatriz fights southern California traffic in her clunky VW as she rushes from her gig at the cancer center to Cathy’s (Connie Britton) Orange County cliffside mansion. See, Cathy is hosting a dinner party for her husband’s (David Warshofsky) business associates and she simply must have her massage prior to such a stressful event – after all, she did plan the menu. When Beatriz’s car stalls in Cathy’s driveway, she is invited to stay for the dinner party.

Things get awkward once the actual guests arrive. Alex (Jay Duplass) and his wife Shannon (Chloe Sevigny) are the young, entitled types so enticed by the fancy house and global traveling lifestyles on which they are on the brink. It should be noted that Mr. Duplass cleans up nicely and Ms. Sevigny spends much of the movie smiling – a look for which she’s not normally associated. The real squirming occurs once Doug Strutt (John Lithgow) and his shallow third wife Jenna (Amy Landecker, “Transparent”) arrive.

Beatriz and Strutt are polar opposites with contrasting lifestyles and character. She is a mystical presence with a deep connection to Mother Earth and all living beings. He is the Trump-like figure – charismatic, manipulating and laser-focused on the brass ring. She coddles her pet goat in her bedroom to protect it from a crazy neighbor, while he ignores the rare birds nesting on the valuable land he wants scraped for his newest development.

It’s by no means a superhero movie, but Beatriz is presented as a Mexican-born working class (minimal make-up, functional clothing and shoes) Wonder Woman, while Strutt is the ultra villain out to destroy the planet, one rhinoceros at a time. She views him as “The Source” of Earth’s pain, while he tries to laugh her off as a novelty act. It’s Cathy and her husband who are most taken aback by the direct words of Beatriz, as they have considered her a “family friend” since she helped their daughter through a health scare. How dare she spoil their dinner party!

There is a beautiful aerial shot of the Orange County mega-mansions, but most of the uncomfortable moments are derived through the ongoing duel of angelic Beatriz vs. the poisonous topics of politics and profit. There is no subtlety in the message, but having two talented actors go head to head, does make it more palatable.

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Posted by David Ferguson

THE JOURNEY (2017)

June 16, 2017

 Greetings again from the darkness. Only the rarest of fiction can match the depth and intensity of historically crucial watershed moments. A list of such moments would certainly include the 2006 St. Andrews Agreement that ended 40 years of violent civil war between the Unionist and Republican factions of Northern Ireland. Director Nick Hamm and writer Colin Bateman team up to bring us a speculative dramatization of the conversation that ‘might’ have led to the treaty.

Timothy Spall plays Reverend Ian Paisley, leader of the Unionists and an anti-Catholic evangelical minister. Colm Meaney plays Martin McGuinness, the rebellious former IRA leader (“allegedly”, he clarifies) who leads the Irish Republicans (Sinn Fein). These two extremists have been at war for most of their lives, yet had never met until circumstances brought them together for negotiations.

One’s take on the film will likely be determined by the level of need for historical accuracy and any personal connection to long-lasting war in Northern Ireland. Either of these traits will likely have you scoffing at the backseat verbal sparring and the plot contrivances that allow the two mortal enemies to slowly break down the ideological barriers. On the other hand, it can be viewed as a mis-matched buddy movie featuring a game of witty one-upmanship with political and historical relevance.

Either way, the dueling actors are a pleasure to watch. Mr. Spall surely has the more theatrical role, and he revels in the buttoned-up judgmental nature of Paisley – a man loyal enough to be attending his 50th wedding anniversary party, and sufficiently devoted to his beliefs that his last visit to a movie theatre was in 1973 as he led the protests against The Exorcist. In contrast, Mr. Meaney plays McGuinness as both determined to find common ground and worn down by the years of fighting and lack of progress.

Toby Stephens plays Prime Minister Tony Blair, while Freddie Highmore is the young driver charged with surreptitiously igniting conversation between the two rivals. He is fed instructions through his ear-piece by an MI5 director played by John Hurt, in one of his final film appearances. Unfortunately, this bit of “narration” came across as condescending to this viewer who surely could have done without such elementary guidance. Still, the sight of Mr. Hurt on film is always welcome.

The infusion of humor is nearly non-stop. There’s a comical exchange about Samuel L. Jackson, a joke about the Titanic, and a Paisley diatribe at a gas station over a declined credit card that would easily fit in most any Hollywood buddy flick. However, these elements undermine one of the early on screen interviews we see when a citizen states bombs going off as you walk down the street is “part of life”. “You can almost taste the hatred” is a great line, but unfortunately doesn’t match the script of what we witness on screen. The two men re-hash some key events such as 1972’s Bloody Sunday, and it’s these moments that remind us just how important this new agreement was to the country. It’s understandable (and relevant today) how 40 years of hate can become a way of life and difficult to end, and it also shows us just how far actual communication can go in finding common ground between folks … even The Chuckles Brothers.

watch the trailer:

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Posted by David Ferguson

CHURCHILL (2017)

June 4, 2017

 Greetings again from the darkness. Well, well. The image to most of Winston Churchill is epitomized by his nickname, The Lion of Britain. Undeniably one of the most iconic historical figures of the last 150 years, there have been volumes of articles and books and movies documenting his important role in so many moments that shaped our modern world. Director Jonathan Teplitzky (The Railway Man) and writer Alex von Tunzelmann (she herself a British historian) take us behind the public façade and into the personal doubts and fears … even literally into his bedroom and the middle of his marital spats.

Brian Cox takes on the role of Churchill, and seems to relish more than the ever-present stogie and its lingering smoke. He captures many of the physical traits and movements, while employing his stage-trained voice in an exceptional reenactment of the infamous and impassioned D-Day radio speech. Complementing his performance is Miranda Richardson as Clemmie Churchill, the strong and diligent great woman behind the great man.

Most of the film takes place in the four days leading up to the June 6, 1944 Allied Forces invasion of Normandy, known of course as D-Day and Operation Overlord. At the time, Churchill was almost 70 years old, and what we see here is man teetering between past and present while cloaked in an almost paralyzing fear stemming from the 1915 Gallipoli debacle. He is presented as vehemently opposed to the Normandy invasion, though most documentation shows his initial resistance from (1941-43) had subsided, and he was fully on board by this time.

Although the ticking clock throughout the film leads to the invasion, this isn’t a war movie per se, but rather a peek at the human side of leadership in a time of crisis. Ask yourself if you could readily order tens of thousands of young soldiers to face slaughter, especially after you had experienced such tragic results a still-fresh-on-the-conscience 29 years earlier.

John Slattery (“Mad Men”) plays General Dwight Eisenhower, the Supreme Allied Commander (and future President of the United States) and he more than holds his own in scenes with Cox/Churchill. Julian Wadham plays Bernard Montgomery, the Spartan General. He was over all Allied ground forces and accepted Germany’s surrender in 1945. Taking on the role of British Field Marshal Jan Smuts (also the Prime Minister of South Africa) is Richard Durden. Having the thankless job of trying to keep Churchill on track, Smuts was the only person to sign the peace treaties for both WWI and WWII, and later established the League of Nations. James Purefoy does a really nice job as King George VI (replete with minor stutter), and Ella Purnell (Emma in Miss Peregrine’s Home for Peculiar Children) shines as Churchill’s bright-eyed new secretary, and invested British citizen.

The best scenes are between Winston and Clemmie, and those where he fine-tunes his remarkable speeches. At times the film veers into near-caricature mode, but manages to right itself thanks to the counsel and wisdom of two strong women. Later this year, Atonement director Joe Wright will present Darkest Hour, with the great Gary Oldman as Churchill, and it’s likely to feature more politics and acts of state. Despite the blustering and sense of “losing it”, all is well when the D-Day speech is delivered. It’s so much more than words on the page. Well, well.

watch the trailer:

 

 

 

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Posted by David Ferguson

BAND AID (2017)

June 1, 2017

 Greetings again from the darkness. “Where words fail, music speaks.” Danish author Hans Christian Andersen wrote those words more than 150 years ago, and he surely never imagined a 21st century California couple would prove true the adage. Zoe Lister-Jones (a regular on TV’s “Whitney”) has been acting regularly since 2004, and this is her first “all in” film project where she is writer/director/producer/lead actress. Her talent as a writer is evident in a topic assumed close to her heart: thirty-something angst.

Ms. Lister-Jones stars as Anna, a disenchanted Uber driver who is married to super slobby slacker Ben played by Adam Pally (Slow Learners, 2015). These two seem perfectly matched – or would be, if not for the constant bickering over anything and everything. Before you assume this is a remake of the ultra-depressing Revolutionary Road (2008), please note that the two leads are incredibly funny people and masters of witty one-liners. They make marital squabbles quite entertaining, once they decide to form a band with the sole purpose of singing their arguments.

Admittedly, it’s a shaky premise, but these two manage to pull it off with help from neighbor/drummer/sex addict “Weird Dave” (Fred Armisen). Along the way, they take shots at their friends’ exuberance over babies, the Holocaust, a kid named ISIS, pizza, dirty dishes, a mousetrap, sex, drugs, and art. They even bring levity to a marriage counseling scene featuring Retta (“Parks and Recreation”).

Just as impressive as the humor is how the film balances the drama associated with lingering depression tied to the trauma of a miscarriage. This and the couple’s inability to communicate their emotions are what drive their marital challenges. For a short time, the ‘argument music’ seems to improve their relationship, but it’s obvious that the real issue must be dealt with. Enter Ben’s mom (Susie Essman), whose only scene serves the purpose of explaining women to Ben and all the dumb guys in the audience.

There are actually quite a few familiar faces (many with ties to “Life in Pieces”) that appear in only one or two scenes: Chris D’Elia, Ravi Patel, the aforementioned Retta, Majandra Delfino, Jesse Williams, Colin Hanks, Brooklyn Decker, Erinn Hayes, Jamie Chung, Hannah Simone, and Angelique Cabral. These quick hit scenes serve as a dose of reality, as “moments” are what make up life … even if many interactions are “crazy” (D’Elia) or creepy (Williams).

The film was well received at Sundance, and it immediately marks Zoe Lister-Jones as a filmmaker to watch. Her comedic presence is a rarity, and is complimented nicely by her musical talent, and her willingness to hit serious topics head-on. Here, she offers a woman’s perspective on having kids, being questioned about having kids, and traditional women’s roles within society and marriage. Her inspired observations (a spontaneous jam session at the kid’s birthday party) are a welcome addition to today’s cinema, while also offering a west coast contrast to east coast indie film.

watch the trailer:

 

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Posted by David Ferguson

PAST LIFE (2017)

June 1, 2017

 Greetings again from the darkness. Renowned Israeli filmmaker Avi Nesher tackles the familiar topic of Holocaust survivors and drops in a related family mystery, two dueling and personality-opposite sisters, plus numerous sub-plots including: arguing spouses, musical sexism (it’s a thing), cancer, and a cross-country investigation. The film was inspired by the autobiography of Dr. Baruch Milch, who is the father of the rival sisters and whose past actions are at the core of the investigation.

It’s 1977 West Berlin, and after successfully performing a solo during a concert, no singer wants to be grabbed by a crazy-eyed old lady and accused of being the daughter of a murderer … an act exacerbated by the fact that the accusation is in a language she doesn’t understand. This is exactly what happens to young Sephi Milch (played well by Joy Rieger, who reminds of a late 1970’s Amy Irving). It’s an unsettling moment for Sephi and when she mentions it to her dissident older sister Nana (Nelly Tagar), who also happens to be a journalist/editor, the girls unite for an investigation that will take them deep into the mysterious past of their father.

The sisters of conflict are never really on the same page, as Nana is relentless in pursuit of the truth while the more reserved Sephi can’t see the benefit to uncovering something that could tear the family apart. Also, Sephi is focused on her dream of becoming the first respected female classical composer in history. In an odd twist of fate, it’s the son of the accusing crazy lady who is instrumental (apologies for the pun) in helping Sephi purse her goal. Thomas Zielinski (played by Rafael Stachowiak) is a well known conductor who is either a creepy guy (with an even creepier mother) with amorous intentions toward Sephi or a generous guy in a position to help the rising star.

The story could have been interesting enough with this foundation, but it becomes cluttered with side stories that actually bog down and divert our attention from what we care about. Doron Tavory plays Dr. Baruch Milch, and though his being a lousy father doesn’t make him a murderer, it certainly allows for doubt in both the girls and the audience. Often, the film feels like a jigsaw puzzle with missing pieces … or worse, including pieces from a different puzzle.

Taking place at a time when Egyptian President Anwar Sadat was working towards a peaceful accord with Israel, the film also acts as a reminder that war pushes people into actions that might be out of character, yet necessary in the moment. Should these digressions be forgiven or become one’s lingering shadowy legacy? The clashes with past and present, historical and modern, confuse these issues and divert our attention away from two sisters trying to understand the impact of their father’s actions during WWII on their family today. The rest is just noise … disguised as beautiful music.

watch the trailer:

 

 

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Posted by David Ferguson

WINE TASTING (2017)

June 1, 2017

 Greetings again from the darkness. The film isn’t likely to teach you much about wine, wine history or even wine tasting (despite the title), but at least you won’t have to watch Paul Giamatti guzzle the spit bucket. Director Josh Mitchell and writer Justin Samuels have combined on this look at four friends studying for the Master Sommelier exam, as well as how their friendship is impacted by the results.

The opening scene finds the four lads drilling blindfolded for the tasting section. When they are told their answers are “not even close”, we realize there is a bit of humor mixed in with the highly stressful process that requires years of studying and practice (and a high failure rate). It’s also our first indication that the film is a bit stagey, and that the cast may not have the acting chops we are accustomed to seeing on the silver screen. However, this is not a factor of effort, as everyone involved seems committed to their roles and the project.

The director Josh Mitchell plays Mateo, a chef who finds support not just with his buddies, but also with an understanding girlfriend played by Alysa Scanzano. Jesse O’Neill plays John, who tries to handle the stress and long hours with a boost from cocaine; while Josh Thrower portrays Ed, the wine taster who succumbs to alcoholism after his girlfriend dumps him. The most colorful character of the four is Franco, a rowdy and opportunistic Serbian played by Vanja Kapetanovic. These four toss around the “dude’s” and “bro’s” at a pace that would make any stoner movie proud.

The film is at its best when focused on the pressure of preparing for the exam, and it’s the second half that reminds us of the power of friendship … though it leans a bit heavy on dude-drama. The Jason Wise documentary Somm (2012) provides a more detailed, behind-the-curtain look at what it takes to become a Sommelier, and of course, Sideways (2004) and Bottle Shock (2006) are the two best known films centered on wine tasting and wine competition, respectively. While this one isn’t at the level of those films, its description of “fire hose of information” and the relentless studying and commitment to the cause, do hit home.

 

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Posted by David Ferguson

WAKEFIELD (2017)

May 18, 2017

Dallas International Film Festival 2017

 Greetings again from the darkness. Oscar nominated for her screenplay to The Curious Case of Benjamin Button (2008), Robin Swicord’s directorial debut of The Jane Austen Book Club (2007) was not particularly impressive. However, she bounces back nicely with this Bryan Cranston vehicle and one of the more creative scripts featuring internal dialogue that’s ever hit the silver screen. Cranston is showing a knack for selecting interesting projects, and he excels here as the high-powered attorney who spontaneously decides to drop out of society in a most unusual manner.

There is a ton of social commentary on display here with targets including married life, suburban living, career pressures, and self-doubt … substantially summed up with a line from Cranston’s character, “Who hasn’t had the impulse to put their life on hold?” As he proceeds through his new ‘unshackled’ and ‘primal’ lifestyle while observing the world unnoticed through the small window in his garage attic, much of his focus seems to be on discovering just who he is at his core, and what is the truth behind his relationship with his wife (Jennifer Garner). It’s as if he is asking “What am I?” while clinging to his previous life in a voyeuristic way.

Ms. Swicord’s screenplay is adapted from E.L. Doctorow’s short story and it’s sneaky in the way that it questions how we go about our daily life, and how one can “snap” emotionally if feeling unappreciated. It’s a showcase for the other side of upper middle class white privilege, as well as suburban alienation that is so prevalent (and ignored) today. By dropping out but staying close, Cranston’s character actually pays more attention to his family than he usually would if sitting next to them at the dinner table.

We are accustomed to a mid-life crisis involving a sports car, marital affair or sudden career change. It’s highly unusual for someone to actually “disappear”. It’s at that point where the narration really shines … it’s insightful, observational and thought-provoking. Beyond that, the comedic edge is laden with sadness. The story humanizes this pretty despicable guy – or at least a guy who does a pretty despicable thing. The score is in the style of a 1980’s Brian DePalma movie, which just adds to the unique cinematic experience. This is one to see for Cranston’s performance, as well as for Ms. Swicord’s commentary on today’s way of life.

watch the trailer:

 

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Posted by David Ferguson

A QUIET PASSION (2017)

May 18, 2017

Dallas International Film Festival 2017

 Greetings again from the darkness. We open on a young woman standing strong during a critical moment at seminary school. It’s kind of a clunky start in an overly-dramatic and stagey sense for the film, but Emma Bell sets the standard for the future behavior of Emily Dickinson. What follows is a period drama with minimal costuming effects, but rather a fitting onslaught of language and words – most of which comes courtesy of Ms. Dickinson and her mighty pen.

I’ve often viewed Emily Dickinson as an early feminist whose beliefs and intentions were stifled by the era in which lived, as well as the depression that seemed to cloak most of her days. She was definitely an odd/unusual person and clearly stood for women’s equality at a time when her own poems were published anonymously to avoid scandal and backlash for the paper. Writer/director Terence Davies (The Deep Blue Sea, 2011) shows interest in glamorizing neither the times nor the writer, and Cynthia Nixon seizes the opportunity to capture the essence of a gifted woman who at best, could be described as a societal misfit and a genius.

The terrific cast also includes Keith Carradine as Emily’s proud father, Jennifer Ehle as her (yin-yang) sister Vinnie, and Duncan Duff as brother Austin. Emily’s rare forays beyond familial boundaries are mostly via garden strolls with her wise-cracking friend Miss Buffum, played with zeal by Catherine Bailey. There is also a tremendous 3:00am scene between Emily and her sister-in-law Susan (Jodhi May), which provides the best possible self-analysis by Ms. Dickinson (outside of her writings). She confesses to her new family member, “You have a life, I have a routine.” This insightful line seems to carry no sadness for Emily.

The first third of the film features some low-key zingers that rival anything from Whit Stillman’s superb Love & Friendship, though the balance of the film takes a turn towards the serious and somber while focusing more on Faith and Death and Emily’s controversial stances. She embraces the label of “no-hoper” and continues on with her observations of a life she barely leads. While the language and words are the stars here (along with Ms. Nixon), there is a very cool effect as the characters seamlessly age before our eyes in a series of portrait poses, vaulting the timeline headfirst into Emily’s descent into self-imposed isolation. It’s a very well done biopic that requires your ears be in prime form.

Ms. Dickinson died in 1866 at the age of 55, and the film helps us understand that the contradictions and confusion associated with religion does not solely belong to our modern times. This might best be explained when Emily’s aunt wins an argument by proclaiming that “hymns aren’t music”. Mr. Davies delivers a small film that is large in thought and beautiful in look.

watch the trailer:

 

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Posted by David Ferguson

WHISKY GALORE (2017)

May 11, 2017

 Greetings again from the darkness. There’s good fun to be had in watching director Gilles MacKinnon’s and writer Peter McDougall’s remake of the 1949 comedy from director Alexander Mackendrick and writer Angus MacPhaill, based on the novel from Compton MacKenzie. Whew! Is that enough ‘Macs’ for you? The story takes place on an isolated Scottish island of Todday during WWII, and is loosely based on true events of 1941.

Not only is the community geographically isolated, it’s also mostly insulated from the rationing and hardships caused by the Great War. All that changes when the last bit of whisky is guzzled, leaving the locals “in terrible shape” with nothing to drink but tea (uttered with equal parts disgust and disappointment). Even though it was Irish and not Scottish, if you’ve seen Waking Ned Devine (1998), then you’ll have an idea of the comedic style – mischievous wry humor rather than hysterical slapstick.

The key locals include Gregor Fisher as Macroom, single father to two grown daughters Catriona (Ellie Kendrick) and Peggy (Naomi Battrick). Of course, where there are two lovely daughters, there is likely to be love in the air. Filling these roles are returning war hero Sergeant Odd (Sean Biggerstaff) and George (Kevin Guthrie), the son of a local ultra-Calvinist mother. Eddie Izzard plays the all too serious Home Guard Captain Wagget, while Fenella Woodgar spouts some of the film’s best one-liners as his wife.

When a cargo ship carrying 50,000 cases of whisky crashes just offshore, the locals begin plotting how to rescue the bounty and return normalcy to their daily lives … all while observing the Sabbath and gazing wistfully at the ship from dry land. There is also a funky sub-plot that ties into the story of the Duke of Windsor and Wallis Spencer, but this is mostly a story of local ingenuity and inspiration set to the beautiful music of Scottish bagpipes and violins (from composer Patrick Doyle). The quaint setting and predicament make for whimsical fun and some nice laughs … just remember to change the password if you are guarding the road.

watch the trailer:

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Posted by David Ferguson

CHUCK (2017)

May 9, 2017

 Greetings again from the darkness. “That guy could take a punch.” It’s supposed to be a compliment and knowing nod to the machismo and toughness so valued in the world of boxing. Instead that trait is responsible for the two claims to fame for heavyweight boxer Chuck Wepner: he shockingly went 15 rounds (minus 17 seconds) against Muhammad Ali in 1975, and was the inspiration for Sylvester Stallone’s Oscar winning movie Rocky.

Director Philippe Falardeau (Monsieur Lazhar) and the four co-writers (Jeff Feuerzeig, Jerry Stahl, Michael Cristopher, Liev Schreiber) spend very little time in the boxing ring or with the usual training montages, and instead focus on how Wepner’s ego and inability to handle fame affected his family, his health and his life. This is a portrait of Chuck the man, and it’s at times more painful than the barrage of punches Ali landed in Round 15.

Liev Schreiber is outstanding as ‘The Bayonne Bleeder’, the disparaging (but accurate) sobriquet that stuck with Wepner – thanks to his propensity to bleed in most bouts. His self-motivation to “Stay up Chuck” against Ali (played here by Schreiber’s “Ray Donovan” brother Pooch Hall) is what became the foundation for Stallone’s Rocky screenplay. There are a few terrific scenes with Wepner and Stallone (a spot on Morgan Spector) as Wepner desperately tries to latch onto the Rocky bandwagon, going so far as to introduce himself as “the real Rocky”. It’s tough for an actor to get Oscar consideration for a performance in the first half of the year, but Schreiber is worthy.

It’s not the first time we have seen the pitfalls of instant fame and celebrity status, and even though it’s a true story, there is a familiarity to it that makes the plight of this lovable lug quite easy to relate to. Wepner’s blue collar narcissism may have been the cause of much of the pain in his life, but it also allowed him to become a folk hero. His connection with Anthony Quinn in Requiem for a Heavyweight provides all the personality profile we require to grasp Wepner’s make-up.

The supporting cast is strong. Ron Perlman plays Wepner’s manager/trainer Al Braverman, Jim Gaffigan is his hero-worshiping corner man and cocaine accomplice, Elisabeth Moss plays wrongly-done first wife Phyllis, Michael Rappaport is estranged brother John, and Naomi Watts (she and Schreiber ended their long-term relationship soon after filming) as his confidant and second wife Linda. Moss and Rappaport each have very strong scenes … scenes that remind us that these are real people and not part of some fairy tale.

Director Falardeau delivers no shortage of 1970’s cheese – wardrobe, facial hair, disco music, party drugs, and night clubs – but there is also enough humor to maintain balance: Wepner explains after the Ali fight how he tried to “wear him down with my face”. By the end we aren’t sure if Wepner was self-destructive or simply lacking in dependable counsel. Either way, the journey of self-discovery is even more interesting than the boxing career, and the film is punctuated with closing credit footage that provides viewers with a sense of relief. A tragic ending has been averted, and Chuck remains a local Bayonne, New Jersey resident – even if he’s no longer a bleeder.

watch the trailer:

 

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Posted by David Ferguson

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