THE LAST VERMEER (2020)

November 19, 2020

 Greetings again from the darkness. Knowing the film is based on Jonathan Lopez’s 2008 book, “The Man Who Made Vermeers” removes some of the mystique from the story; however Dan Friedkin’s (stunt pilot on DUNKIRK) directorial debut is an enticing look at a blending of art history and world history. The screenplay was co-written by John Orloff, Mark Fergus, and Hawk Ostby.

It’s May 29, 1945, three weeks after the fall of Hitler’s Reich, and the Dutch military is on a mission to reclaim valuable art and collectibles confiscated by the Nazis during the war. Some of these were hidden in Austrian salt mines by order of Hermann Goring, actions also depicted in the 2014 film, THE MONUMENTS MEN. After serving in the war, Captain Joseph Piller (Claes Bang, “Dracula” 2020) is tasked with tracking down those who stole the art, and those who sold the art to Germans. It’s a task meant to preserve his country’s culture. One particular piece, “Christ with the Adulteress” held special significance, as it was billed as ‘the last Vermeer’, a long lost painting by Dutch master Johannes Vermeer (“The Girl with the Pearl Earring”), for which Goring had paid a record price.

Investigation on this painting led Piller and his assistant Minna (Vicky Krieps, PHANTOM THREAD 2017) to Han Van Meegeren (played with panache by Guy Pearce and his stylish eyebrows). Piller is also helped by his friend Esper Vesser (Roland Moller, ATOMIC BLONDE 2017) who supplies a bit of muscle and brawn. Van Meegeren has a fancy manner of speech, and Piller determines he’s the key to the case, and to unlocking what occurred and how. At the same time, the Ministry of Justice (August Diehl, INGLORIOUS BASTERDS 2009) is after Van Meegeren for conspiracy, and the parties end up in court.

Piller and Van Meegeren existed in real life, and though some dramatic license is taken, much of what we see actually happened. Art experts and politics collided. And it’s not surprising that egos ruled the day (not unlike today). The twist may or may not be a shocker to those who know the story, but it’s still fascinating that folks would risk their lives in such a manner during the darkest of times. It seems opportunists exist regardless of the era. Mr. Bang and Mr. Pearce are both excellent here, and it’s quite fun to watch their verbal wranglings. Director Friedkin adds an Epilogue that will surely bring a smile to most viewers.

Opening in theaters November 20, 2020

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Posted by David Ferguson

HEARTS AND BONES (2020)

November 19, 2020

 Greetings again from the darkness. How would you feel if someone photographed the worst moment of your life, and then exhibited it for the world to see? That question is at the heart of this drama, the first narrative feature from writer-director Ben Lawrence. His co-writer is Beatrix Christian, who also wrote the screenplay for JINDABYNE, an excellent 2006 film directed by Ben’s father, Ray Lawrence.

Daniel Fisher (Hugo Weaving, “The Matrix” and “The Lord of the Rings” franchises) is a renowned war photographer, and we first see him on assignment in 2018 Iraq. When he returns home to the Western Sydney suburbs, his longtime partner Josie (Hayley McElhinney, THE BABADOOK 2014) surprises him with news that she’s pregnant. They still struggle with the pain of losing their previous daughter, Eve. On top of that, Fisher’s work is scheduled to be the centerpiece of a high profile exhibit coming soon. The stress manifests itself physically through shaking hands and fainting spells.

Fisher is a bit of a mess when he’s tracked down by Sebastian Ahmed (the screen debut of Andrew Luri), who requests that Fisher not include photographs of the massacre which occurred in his south Sudan village 15 years prior. Sebastian says the memories are too painful, as he lost his family during that time. He’s now a refugee building a new life for his pregnant wife Anishka (Bolude Watson) and their young child. Sebastian works as a taxi driver and in a commercial laundry, and when he pushes Anishka to let him buy a house for their family, she says matter-of-factly, “We work. That is our life. It’s all we do.” It’s a frustrating dose of reality for Sebastian who sees a house as confirmation that they belong.

There is so much going on in what, on the surface, appears to be a quiet little film where two men form an unlikely friendship. PTSD is a factor for both men, as war has left its mark, as it so often does. Sebastian has kept his past life a secret from his wife, but that’s only part of the story when it comes to why he doesn’t want the photographs exhibited. Fisher is described as “documenting human pain and misery”, while his work is labeled “misery porn”. Is that fair? We get both sides of the gray area associated with that question noted in my first paragraph above.

Filmmaker Lawrence benefits from four terrific performances, and though the ending is a bit shaky, the stress and emotional turmoil that those four characters endure is extremely well handled. “Who are you?” is a question Anishka asks her husband, and by the end it can be asked of all four characters. There is little wonder why this has been so warmly received on the film festival circuit … it’s thought-provoking and emotional.

In theaters and On Demand November 20, 2020

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Posted by David Ferguson

COLLECTIVE (2020, doc)

November 19, 2020

 Greetings again from the darkness. You likely recall seeing the horrific video. It was 2015 when a fire swept through a Bucharest club where a band was performing live. Captured on a cell phone, the video shows the crowd desperately trying to escape through the main door. 27 people died that night and more than 100 others suffered injuries and burns. It was a terrible tragedy, and yet more tragedy unfolded over the next few weeks, and that’s the beginning of the story told here by director Alexander Nanau.

As recovering patients filled the burn wards and Intensive Care Units at Romania’s hospitals, something horrible began to happen. 37 more people died. These were not folks that were admitted with a life-threatening status, instead it was bacterial infections that were responsible. What is the one thing we take for granted at hospitals? Yes, cleanliness. As the media began to question this death spree, Romania’s Health Minister, Nicolae Banicioiu, a Social Democrat, began boasting about the country’s medical facilities. It’s at this same time that Catalin Tolontan, the editor of “Sports Gazette”, was investigating the cause of these deaths. What we witness is investigative journalism at its best … in the midst of despicable actions by those people we should be able to trust.

Mr. Tolontan and his team slowly peel back the layers, and discover massive fraud and corruption. A whistleblower leads the reporters down a trail towards Hexi Pharma and its owner, Dan Condrea. Protests and social upheaval follow, as the current politicians continue to spew lies. When tests prove unsterile hospitals due to diluted disinfectants, and that patients were denied or delayed transfers to proper facilities in Vienna or Germany due to pride and greed, outrage ensues … leading to the ouster of Banicioiu and others.

Former patients’ rights activist Vlad Voiculescu is named temporary Health Minister, and he permits total transparency by allowing director Nanau unfettered access to meetings and phone calls. The camera follows as reforms are instituted and Tolontan’s research continues. It’s stated with deep regret that, “Our healthcare system is rotten”, and “We doctors are no longer human life. We only care about money.” As more corruption and deception is uncovered, it’s clear this was all about money, rather than healthcare.

Nanau’s film would be powerful and memorable and important if he had remained focused on the work by the new Health Minister and the journalists, but it’s elevated to brilliance by his inclusion of pieces on burn victims, especially Tedy Ursuleanu. Her severe burns left her head scarred and took one of her hands, yet she refused to cower or hide … choosing instead to be photographed for all to see. It’s such an affecting segment, and one that our mind won’t soon forget.

This is the rare documentary that also works as a political thriller. Rather than talking heads and a stream of interviews, we are invited into the world of journalists and reformists looking to right the wrongs. It’s tense and emotional, and the outrage felt at the end is quite unpleasant and will stick with you. Those behind the corruption are described as “a nest of unscrupulous mobsters”, and we can’t help but wonder what happened to medical ethics and human morals. We witness these stories as they unfold and there may not be a better tribute to the importance of investigative journalism.

In theaters and On Demand November 20, 2020

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Posted by David Ferguson

A CRIME ON THE BAYOU (doc, 2020)

November 19, 2020

 Greetings again from the darkness. Debates over whether ‘systemic racism’ exists are ongoing today. What can’t be denied is that it existed in 1966 when a young man was arrested for touching the arm of white boy while attempting to prevent a fight from breaking out at a recently-integrated high school. Director Nancy Buirski (producer on LOVING, 2016) chronicles this incredible story that reached the U.S. Supreme Court and resulted in an unexpected lifelong friendship.

A Tolstoy quote kicks things off: “Since corrupt people unite amongst themselves to constitute a force, then honest people must do the same.” It’s a chilling quote and one that fits this story perfectly. Because of its Gulf coast location, Plaquemines Parish in Louisiana has been battered by numerous hurricanes over the years, and we see archival footage of the destruction caused by Hurricane Betsy in 1965. The following year is when 19 year old Gary Duncan got out of his car to see why a couple of his cousins were being confronted by a group of white high school boys. As he diffused the situation, Duncan touched one of the white boys on the elbow … a simple act that resulted in him being arrested for cruelty to a juvenile. When the charge was dropped, a new charge of assault was immediately filed and Duncan was taken to jail.

Enter Richard Sobol, a young Jewish attorney, committed to justice and fairness under the law. To understand the impact of Mr. Sobol taking on Mr. Duncan’s case, one must first absorb the utterly fascinating (and disgusting) story of “Political Boss” Leander Perez. Director Buirski provides an overview of the tremendous power wielded by Perez in his more than 40 years controlling the area, but it would require a dedicated project to fully grasp the depths of his racism and corruption. A clip of Perez being chewed up by William F Buckley on “Firing Line” is plenty to establish his stature as a racist scumbag. Fortunately, more time is spent on the commitment and courage of Sobol and Duncan than on the despicable actions of Perez, although the result is a real life head-on collision between good and evil.

Included here are interviews with Sobol, Duncan, Civil Rights Attorney Armand Derfner, Civil Rights Attorney Lolis Elie, and Mr. Elie’s son, a writer and journalist. The court case segments are drawn directly from transcripts, and it’s interesting to learn that Mr. Duncan’s mother was a driving force in his continuing to fight. Director Buirski devotes an entire section to Mr. Sobol, and rightfully so. This is a piece of history that he and Gary Duncan share. The clips of Ruby Bridges and Angela Davis come across as a bit forced, but the ‘white people in control of black people’ era is itself maddening to watch.

Archival footage and photos and interviews blend together with an excellent use of music to paint a picture of the times. And hearing Mr. Sobol discuss being a 29 year old lawyer making his case to the US Supreme Court is inspirational. This is a true crime drama so ridiculous we can’t help but shake our heads. But the crime wasn’t the touch of the arm by Duncan. The crime was the environment created by the likes of Leander Perez. The epilogue tells us more of Perez’s story, and also that Duncan and Sobol remained friends long after their place in history was set.

 

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Posted by David Ferguson

THE ORANGE YEARS: THE NICKELODEON STORY (doc, 2020)

November 16, 2020

 Greetings again from the darkness. Slime. Perhaps that word conjures images of the 1984 film GHOSTBUSTERS, but for many who were kids in the 1980’s and 1990’s, slime is synonymous with Nickelodeon, and specifically the network’s game show, “Double Dare”. This documentary from co-directors Scott Barber and Adam Sweeney traces the history of the still popular network, and visits with those who helped build the foundation.

The Nickelodeon network was officially launched in 1979, however the film teaches us how it was inspired by the TV show “Pinwheel”, and tested on QUBE, the interactive cable network whose pushbutton controller allowing immediate feedback from viewers was revolutionary. It’s difficult to imagine the days when there existed no network dedicated to entertainment for kids, yet the programming challenges faced in those early years are shocking. Nickelodeon was named after the original indoor moving picture theaters from the early 1900’s (cost was 5 cents to watch), and the naming of Geraldine Laybourne as President in 1980 marked the beginning of explosive growth for the upstart “First Channel for Kids”.

Ms. Laybourne is interviewed here, and is worshipped by those who describe her as a progressive thinker and exemplary teacher. Her role in those early years was clearly crucial to the network, although after 16 years, she left to join rival Disney. The founding days are so thoroughly discussed that we learn Pantone 21C is the color used for the familiar orange logo … simply because orange is a “happy” color. With a goal to “Let kids be kids”, it’s quite obvious that those involved understood what kids liked and didn’t like. NickToons was established in 1991 with three gems: “Rugrats”, “Doug”, and “Ren & Stimpy”. Jim Jinkins was the creator of “Doug” and we learn much about him. In fact, interviews are included from numerous members of the talent roster. Marc Summers, host of “Double Dare”, Melissa Joan Hart, star of “Clarissa Explains it All”, and Kenan Thompson of “Kenan and Kel”, who of course, has gone on to spend many years as a featured player on “Saturday Night Live”. These folks reminisce about the early years and how they understood they were changing the landscape of TV for kids.

This isn’t just about the stars. We learn about the opening of the Nickelodeon Studio in Orlando, and how it became a featured attraction on the Universal Studios tour. We also hear from the writers, producers, and creators, so that we get the full picture of how things came together and then developed. Some names we wouldn’t expect to be associated with Nickelodeon include: Iggy Pop, Magic Johnson, Chris Farley, and Coolio. We see how each fit in. We learn about ‘middle-age kids’, the beginnings of SNICK (with “Are You Afraid of the Dark?”), as well as the initial resistance to merchandising – termed ‘exploiting kids’. Of course, all of that changed with Nickelodeon Magazine, “SpongeBob SquarePants” (1999) and “Dora the Explorer” (2000).

The magazine and merchandising became a physical manifestation of the network’s programming, and of course, a substantial addition to the revenue stream. What’s most impressive with the backstory is how those behind the programming were so energized and committed to changing the world of children’s TV. There may have been game shows, slime, and Gak, but the real impact resulted from their understanding of kids … kids that are now adults and admit to growing up watching Nickelodeon. It’s a legacy that continues today.

Available On Demand beginning November 17, 2020

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Posted by David Ferguson

THE TEST AND THE ART OF THINKING (doc, 2020)

November 16, 2020

 Greetings again from the darkness. “And you may begin.” Thanks to this documentary feature film from Michael Arlen Davis, we now know that 3.5 million high school students graduate each year, and 80% of them have taken a standardized college admission test at least once. The vast majority of those students experience anxiety and feel the pressure that comes with needing a certain score to have any chance at gaining admission to the school of their choice.

Why do these tests exist? What do they measure? How are scores used in the admissions process? How accurate are they in predicting academic success at the next level? These topics are discussed during the film through interviews with academics, tutors, parents, and students. Surprisingly, the professional tutors – or testing coaches – provide the most insight. Each has their own philosophy, but the key takeaway is that standardized tests don’t evaluate what you know, but rather how you think and how well-prepared you are to take such a test.

Carl Brigham, a Princeton Professor of Psychology and member of the advisory council of the American Eugenics Society, is credited with creating the original SAT, though it’s been re-designed a few times since. We hear from John Katzman, who founded the Princeton Review in 1986 as a business to teach and tutor students on how to best prepare for standardized tests. From there, many others, including private for-hire tutors have become part of this ever-expanding industry. This goes to the core of just how important test scores are viewed in the college admission process.

In 2001, Dr. Atkinson of the University of California system announced they were looking to drop the SAT from the admissions evaluation, and this year’s COVID environment has pushed other systems and schools to consider alternative methods as well. It’s pointed out that the tests are not dissimilar to IQ tests, yet most agree a test score is not an accurate measure of intelligence. Standardized tests are described as a “get the answer” test, and the better students hone this skill, the less anxiety or stress they feel, and the more options they’ll have for advanced education … or all of the above.

Available on streaming platforms beginning November 17, 2020

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Posted by David Ferguson

TRUTH IS THE ONLY CLIENT: THE OFFICIAL INVESTIGATION OF THE MURDER OF JOHN F KENNEDY (doc, 2020)

November 16, 2020

Greetings again from the darkness. Having spent much of my life in Dallas, the tragic events of November 22, 1963 have always played a role in my identity as a Texan. President Kennedy’s assassination that day has carried the added burden of conspiracy theories and politicized commentary … this in addition to the devastating emotional toll it took on the citizens of the United States. Co-directors Todd Kwait and Rob Stegman focus their attention on The Warren Report, the research conducted by the 7 appointed members of the committee, plus the affiliated attorneys and staff.

We see the archival clip of the Boston Symphony announcement of that day’s assassination, and the reaction of the live audience as the conductor reveals the Funeral March from Beethoven’s symphony is next up. It’s effective as a reminder of the gut-punch felt by the populace, before the filmmakers’ move towards a more analytical look at the findings by the commission. Vincent Bugliosi then informs us that it’s the greatest murder case in world history, and also the most important and complex. Bugliosi (now deceased) was the lead prosecutor in the Charles Manson case, and he also acted as the prosecutor in a 1986 televised mock trial of Lee Harvey Oswald – an event which led Bugliosi to write a detailed 2007 book entitled “Reclaiming History: The Assassination of President John F Kennedy”.

Four surviving staff members affiliated with the Warren Commission are interviewed on camera, as are other experts, authors, historians, and investigators. The “star” witnesses are Ruth Hyde Paine and Robert Blakey. Ms. Paine was a friend of Marina Oswald, and owned the house where Marina lived at the time of the assassination. Mr. Blakey was Chief Counsel and Staff Director to the U.S. House Select Committee on Assassinations (1977-79), which investigated Kennedy’s death. Among the other key contributors included here are author Patricia Johnson McMillan (“Marina and Lee”), Kennedy expert Judge Brendan Sheehan, CIA historian David Robarge, and Sound/Acoustics investigator Steve Barber.

While acknowledging, and not shying away from, the numerous conspiracy theories that have been floated in regards to the assassination, it’s important to understand that the focus here is on the report filed by the Warren Commission. It could even be categorized as having the goal of proving its accuracy. It’s noted that Chief Justice Earl Warren directed everyone associated with the commission that, “your only client is the truth”. We are informed that the multitude of conspiracy theories have cumulatively accused 12 groups, 82 assassins, and hundreds of co-conspirators. The commission interviewed 552 witnesses, and those involved remain adamant that their research and work was neither tainted nor politicized.

A high level history lesson is worked in between the interviews, often tying in to the portion of the report being discussed. These segments include: the assassination attempt on General Walker, Oswald’s pro-Castro work in New Orleans, the ‘grassy knoll’, the pristine bullet, Jack Ruby (including some background on him), and of course, the Zapruder film … where the pertinent frames are analyzed. There is an interesting segment on the Police Audio and how it was remarkably released via Gallery Magazine (a publication for adults). Discussion of Operation Mongoose, the CIA plot to overthrow communism in Cuba, including the killing of Fidel Castro may or may not be news to viewers, and there is even mention of Oliver Stone’s 1991 movie, JFK.

Included among those who have been accused of orchestrating the assassination are Cuba, the Soviet Union, organized crime, the FBI, and the CIA. Those involved specifically reference the cover-ups perpetrated by those latter two federal agencies. Did these hinder the investigations and impact the final report? Whether you subscribe to one or more of the conspiracy theories, one would be hard-pressed to not at least acknowledge that the citizenry’s distrust of government was amplified during this time,  and nothing since has calmed the waters. Kwait’s and Stegman’s film is undoubtedly the best film breakdown of the Warren Report, though it’s unlikely to change the minds of those who prefer a conspiracy.

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Posted by David Ferguson

ANTEBELLUM (2020)

November 14, 2020

 Greetings again from the darkness. This is the movie for anyone unaware that racism was prevalent during the Civil War, and still continues to this day. Of course anyone fitting that description is likely enjoying their life in a cave, and is clueless that movies exist. It even goes as far to “inform” us that slaves were abused, tortured, and lynched, while today racism can take the more subtle form of a less desirable restaurant table or a concierge with an attitude. However, while the message may be unnecessary and too obvious, the originality and creative approach of filmmakers Gerard Bush and Christopher Renz is commendable, especially for their first feature film.

An uninterrupted extended take kicks off the movie, and shows us the lay of the land at a cotton plantation where the slaves are controlled by confederate soldiers. When an attempted escape goes wrong, the brutality of the soldiers is on display. One of the slaves is Eden, played by Janelle Monae. She’s the favorite of the General (Eric Lange, seen recently in two popular cable mini-series, “Escape at Dannemora” and “Perry Mason”), and he literally brands her as his property. Many of the sequences are difficult to watch as the cruelty and abuse is not sugar-coated.

When we next see Ms. Monae wake up from a dream, she’s living in a swanky home with a perfect husband (Marque Richardson) and cute daughter. She’s now Veronica, a well-known author and speaker who is living the American dream. A night on the town with her friends played by Gabourey Sidibe (Oscar nominated for PRECIOUS, 2009) and Lily Cowles purposefully comes across like it’s from a different movie altogether. It’s this contrast the filmmakers use to deliver their M Night Shyamalan style twist. Afterwards, it’s wheels-off for the movie, but we are able to assemble the pieces of what we’ve seen to this point.

Jena Malone and Jack Huston also play key roles here, but it’s Ms. Monae who gets the majority of the screen time, and mostly nails both Eden and Veronica. Although much of the film and story seems exaggerated and over-played, cinematographer Pedro Luque (THE GIRL IN THE SPIDER’S WEB, 2018) delivers a beautifully shot film, so it always looks good, regardless of what else we might be thinking. Filmmakers Bush and Renz likely have much more nuanced and effective storytelling in their future, and we do expect Ms. Monae to take the step from supporting roles to leads. She’s earned it.

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Posted by David Ferguson

AMMONITE (2020)

November 12, 2020

 Greetings again from the darkness. “Peanuts” creator Charles Schulz injected “It’s the Great Pumpkin, Charlie Brown” (1966) with downtrodden Charlie repeating the line, “I got a rock” after each house on the trick or treat trail. It was funny because no one would rather have a rock than candy, right? Well, maybe no one except Mary Anning, the 19th century English fossil collector and paleontologist whose story is at the core of writer-director Francis Lee’s (GOD’S OWN COUNTRY, 2017) new film. His latest film has received some backlash due to the fictionalized approach it takes with her personal life.

Oscar winner (plus 6 other nominations) Kate Winslet stars as Mary Anning, and we first find with her living a quiet life of near solitude in Lyme Regis, a sea side town in West Dorset, England. Having never received her deserved recognition from the scientific community for her discoveries, Mary cares for her mother (Gemma Jones, who also played Winslet’s mother in SENSE AND SENSIBILITY, 1995), an elderly woman burdened with having watched 8 of her 10 children die before her. They eke out a living peddling the stones Mary finds and polishes to tourists. Mary rarely speaks and her face shows the wear and tear of a mostly joyless life.

One day, Rodrick Murchison (James McArdle, MARY QUEEN OF SCOTS, 2018) drops into the shop. As a fellow scientist, he is aware of and interested in Mary’s work. He condescendingly introduces his wife Charlotte (4 time Oscar nominee Saoirse Ronan) as suffering from “melancholia”. When Charlotte falls ill, Rodrick asks Mary to look after her while he continues his travels. Dr. Lieberson (Alec Secareneau, AMULET, 2020) examines Charlotte and recommends rest and sea air. He also takes notice of Mary, an occurrence to which she pays little mind.

The contrast between Charlotte and Mary is not limited to age and class. They aren’t particularly fond of each other initially, though Mary slowly nurses her back to health. The two ladies finally connect over a heavy rock half-buried in sea wall sediment. The evolution of their relationship is slow, but thanks to the two outstanding actors, it’s quite something to watch. Ms. Winslet is particularly affecting as the woman beaten down by life and reluctant to allow any glimmer of hope. We see this in her interaction with neighbor Elizabeth Philpot (Fiona Shaw), a woman with whom there was a previous bond. The old saying goes, “opposites attract”, and here the two opposites, Mary and Charlotte, bring out the best in each other.

The skilled actors never allow the film to slide into melodrama, and instead offer two occasions where unbridled emotion jump off the screen. A passionate and liberating love scene is the first, and then a later re-connection provides the second. Mostly, Mary forces herself to conceal her rare happiness – we wonder if this is due to her belief it won’t last, or if it’s because she feels unworthy. Either way, it’s quite something to watch Ms. Winslet allows us to sense what’s she’s experiencing inside.

Music from Voker Bertelmann and Dustin O’Halloran never overpowers the moment, and the extremely talented cinematographer Stephane Fontaine works his magic. His previous work includes: JACKIE (2016), ELLE (2016), CAPTAIN FANTASTIC (2016), RUST AND BONE (2012), A PROPHET (2009), all beautifully filmed. Filmmaker Lee’s controversial dramatic license with the relationship is apparently done to better explain Mary Anning’s life, and it’s likely the first film where new acquaintances connect in a deep way thanks to the unearthing of a unique rock. Filming took place in Lyme Regis, the actual town where Mary Anning collected fossils in the 1800’s.

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Posted by David Ferguson

DREAMLAND (2020)

November 12, 2020

 Greetings again from the darkness. Outlaws on the run have been fertile ground for movies over the years, and young director Miles Joris-Peyrafitte and writer Nicolas Zwart give the genre their best shot (pun intended). The easiest comparisons are probably Sam Peckinpah’s THE GETAWAY (1972), Jonathan Demme’s SOMETHING WILD (1986), and Arthur Penn’s Oscar nominated classic BONNIE AND CLYDE (1969). However, given the style of this film, Terrence Malick’s BADLANDS (1973) was likely more of an influence for the filmmakers.

Phoebe Evans (as voiced by Lola Kirke, GONE GIRL, daughter of Bad Company drummer Simon Kirke) is our narrator, and from 1955 she recounts the story of her half-brother Eugene. Most of what she tells takes place twenty years earlier – 1935 Dust Bowl Texas during the Great Depression. Finn Cole (“Animal Kingdom”) stars as Eugene, and we pick up a few years after his dad left the family behind and headed for what he expected would be an easier life in Mexico. Mother Elizabeth (Kerry Condon, “Breaking Bad”) is now re-married to local Deputy George Evans (Travis Fimmel, LEAN ON PETE) and his bad haircut, and they now have a young daughter Phoebe (the magical smile of Darby Camp, THE CHRISTMAS CHRONICLES). Eugene reads Detective stories and mostly tries to stay out of George’s way, while Phoebe is a curious little sister, easily the most intelligent of the lot.

One fateful day, Eugene’s beloved detective stories come to life. After a local bank robbery turns violent, he discovers Allison Wells (two-time Oscar nominee Margot Robbie, I TONYA) hiding in his barn, with a bullet in her leg. Despite the $10,000 reward on her head, Allison sweet talks young Eugene into keeping her whereabouts secret, and helping her plot an escape. She swears she didn’t kill anyone and rationalizes the bank robbery by blaming the government for letting people suffer hard times. Eugene may or may not buy her story, but he recognizes this is the most excitement he’s likely to ever have in his life … plus, he’s smitten.

During the first half of the film, we follow Eugene as he helps Allison and holds the secret. When the second half kicks in, we find ourselves along for the ride as the two are on the run from the law, including Eugene’s stepfather George. Along the way director Joris-Peyrafitte includes some flashbacks to the botched bank robbery giving us a look at Allison’s “Clyde”, Perry Montroy (played by Garrett Hedlund). There are also numerous artsy flashes of coastline, supposedly representing Allison and Eugene’s landing spot should they escape. Of course, we know where this is headed – a shootout finale. Filmed in New Mexico, we do get the feel of the hard life fought by those during this era, including the powerful and devastating dust storms that require gas masks to prevent suffocation. The film is watchable thanks to the performances and atmosphere, though it’s not at the level of similar type movies listed earlier.

Watch the trailer

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Posted by David Ferguson

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