Greetings again from the darkness. Actors becoming directors is a Hollywood tradition going back many years, although it seems to be quite the trend these days. Just within the past 3 weeks, there have been feature film directorial debuts from Bradley Cooper, Jonah Hill, and now Paul Dano. You surely know Mr. Dano from his work as the uber-quiet brother from LITTLE MISS SUNSHINE, his dual role in THERE WILL BE BLOOD, and his turn as the early years’ Brian Wilson in LOVE & MERCY. He’s a talented actor who now flaunts a near-master’s grasp of filmmaking.
It’s Montana in 1960 when we meet the Brinsons, a typical family of dad Jerry (Jake Gyllenhaal), mom Jeanette (Carey Mulligan), and 14 year old son Joe (Ed Oxenbould). Jerry is a gregarious golf course employee, Jeanette is a former substitute teacher – now stay at home mom, and Joe is a mostly normal teenager who only attempts to play football in order to make his dad proud, and needs his mom’s help on his math homework. Jerry drinks a few beers each night and Jeanette cooks a nice family dinner. Nothing to see here.
This idyllic world is shaken to its core when Jerry gets fired from his job for not respecting the boundaries with club members (not what you’re thinking), and his manly pride won’t allow him to return to the job when the club reconsiders. Jeanette does what moms do – she takes a job as a swim teacher at the local YMCA to tide them over until Jerry can find a new job. It’s at this point when we realize son Joe has extraordinary observation skills for a teenage boy, and he has a front row seat to a disintegrating marriage. Bearing the shame and frustration of a man in this era who can’t provide for his family, Jerry abruptly leaves to go fight an out of control forest fire in the mountains. Joe longs for normalcy – the only life he had known to this point.
Joe watches in quiet confusion as his mother evolves from doting housewife and caring mother to something and someone he doesn’t recognize. She changes how she talks, how she dresses and how she acts. Jeanette is experiencing the contradiction of knowing she needs a man, and not liking that feeling one bit. She latches on to a local car dealer named Warren Miller (Bill Camp). Miller is basically a master-predator seizing on his injured prey through the power of money and promise of stability, and this makes for some uncomfortable situations both for us as viewers and for Joe watching his mom.
This is a family drama that doubles as insight into the changing times – what defines happiness, what role to women play, how involved are kids in household. Based on a book by Richard Ford, the screenplay is co-written by director Dano and his long-time girlfriend Zoe Kazan (RUBY SPARKS, 2012). The story is one part feminist, one part coming-of-age, and one part societal shift. These are fully drawn, complex individuals that walk, talk and react like people tend to.
As Jerry, Jake Gyllenhaal is excellent in his limited scenes, and Ed Oxenbould is an intriguing young actor and captures the essence of young Joe – especially that moment when kids realize their parents are individuals, not just devices put on earth to serve kids. This is Joe’s story, but it’s Mulligan’s film. What a terrific performance she delivers, which is not surprising, given her track record. Here she makes us feel everything Jeanette feels, and though this isn’t the kind of movie to reach out and grab you, Ms. Mulligan’s performance likely will. There is an expressive score, heavy on the woodwinds, from David Lang; and the cinematography from Diego Garcia is also spot on for era – as is the authentic set design. Mr. Dano has delivered an exceptional piece of filmmaking for what will likely be a very limited audience. Those that seek it out will be rewarded.
Greetings again from the darkness. Even the grainy concert footage and somewhat muffled audio of the opening clip do nothing to offset the raw energy and power of Paul Butterfield and his blues harp. If you are a blues lover, you are already familiar with his music, and you’ll likely learn more about the man. If the blues aren’t your thing, it’s still fascinating to see someone so talented and committed to their art.
Documentarian John Anderson does a nice job of blending interviews from family members and band members with video clips and historical data, mostly in chronological order. Mr. Anderson also acted as editor of “The Super Bowl Shuffle” video of the 1985 Chicago Bears, as well as numerous projects with Brian Wilson of The Beach Boys. This time out, he captures the essence of a musical genius not nearly enough people have tuned in to.
Broken into segments (1942-65, 1966-71, 1972-1987), the film takes us through Butterfield’s childhood in the Hyde Park area of Chicago, and through his final on stage appearance just a couple of weeks before his death. Along the way, we hear from bandmates like Elvin Bishop and Nick Gravenites, Paul’s two sons and his brother Peter, as well as his former wife Kathryn, who describes him as the love of her life. One of Paul’s sons shows us the now-vacant lot where the club once stood in which a teenage Paul played with the likes of Howlin’ Wolf. It helps us understand where his love for the blues developed, how he formed one of the earliest integrated bands (with Jerome Arnold and Sam Lay), and how the great Muddy Waters became his life-long mentor and friend.
We get to hear the earliest known recording of Butterfield from 1962, and then footage of him at Newport Folk Festival in 1965, Monterrey Pop Festival in 1967 (where he debuted a horns section), and of course, Woodstock in 1969. It’s the 1965 story that is perhaps the most interesting, as it took an impassioned plea from Peter Yarrow (of Peter, Paul, and Mary) to get Butterfield a spot in the festival, and then he and his band electrified (pun intended) the folk audience with powerhouse blues. This is the same festival where Bob Dylan shocked the audience by “going electric” (with Butterfield’s band as back-up). The music landscape shifted from the messages of folk music to a more rebellious and harder sound.
Other interviews include David Sanborn, Al Kooper and Bonnie Raitt … each more effusive than the other when discussing Butterfield’s talent and stage presence. We see Butterfield’s own high school yearbook quote, “I think I’m better than those trying to reform me”, and we hear a clip from his “Blues Harmonica Master Class” recorded in 1984 (released in 1997). It was 1976 when Butterfield joined The Band’s farewell concert for “The Last Waltz” (movie and album), and we hear about Paul’s continued and numerous efforts to find the right sound and band in the second half of his career.
Legendary Producer Paul Rothchild, known for his work with The Doors and Janis Joplin, certainly recognized greatness in Butterfield and helped with some of his best recordings. Sadly, the 1980’s brought about severe peritonitis which led to various stomach and intestinal surgeries for Butterfield, which in turn, led to alcoholism and drug abuse. We get a clip of Butterfield on stage with Stevie Ray Vaughan in 1987, mere days before Paul died of a heroin overdose at age 44. Fortunately for us, the musical recordings live on for a man often described as a force of nature on the blues harp.
Greetings again from the darkness. I believe the term is ‘full circle’. It was 1978, and I vividly recall waiting anxiously for the opening night start of John Carpenter’s HALLOWEEN. Now, 40 years later, I’ve just watched what is likely (hopefully!) the final entry of a franchise that spans between 9 and 12 movies, depending on which ones you count (although, apparently we are only supposed to count the first one and this latest). Carpenter’s original film gave us the backstory of 6 year old Michael Myers killing his sister Judith in 1963, and subsequently being confined to a sanitarium before showing up on All Hallows Eve in 1978 for what is now referred to as The Babysitter Murders.
Writer/director David Gordon Green (STRONGER, 2017) and co-writers Danny McBride and Jeff Fradley make it clear from the start that this is a direct sequel (ignore the others!) to the 1978 original, although having a sequel and its original share the same title is itself a bit confusing. For anyone unfamiliar with Carpenter’s original classic (the one that kicked off an entire genre of slasher films), the filmmakers offer up a couple of fame-seeking British podcasters (Rhian Rees, Jefferson Hall) to spell out the history and gory details of Michael Myers and Haddonfield, Illinois. Michael has been institutionalized for four decades, never uttering a single word to his doctors … neither the now-deceased Dr. Loomis nor his protégé Dr. Sartain (Haluk Bilginer mimicking some of Donald Pleasance’s oratory style). Thanks to a not-unexpected bus wreck, and the amateurish prank of the podcasters, Michael Myers is reunited with his William Shatner mask (looking a bit rough these days) and sets off to kill innocents and track down his nemesis, Laurie Strode.
The challenges of filmmakers in 2018 versus those in 1978 aren’t just limited to disposing of podcasters and teenager’s cell phones. They must also be cautious about treating women as victims, and here Laurie Strode is anything but. She has spent these years preparing herself and training her now-grown daughter Karen (Judy Greer) what to do once (not if) Michael Myers returns. Mother and daughter are now somewhat estranged, connected mostly by Laurie’s granddaughter Allyson (newcomer Andi Matichak). It’s kind of clever how the filmmakers empower the three generations so that together they may face off against the evil that has haunted their family for so many years.
The film has a retro 1970’s look and feel, and it is well-served as a tribute/follow-up to the original. Some familiar shots are mirrored and references to the original are noted through the dialogue … though some of the humor seems a bit forced (specifically young Jibrail Nantambu who is being babysat). The opening credit sequence makes good use of the same font and color scheme from 40 years ago, and the rotten jack-o-lantern coming back to life is a nice touch.
The return of Jamie Lee Curtis as Laurie is what completes this haunting circle. Carpenter’s HALLOWEEN was her big screen debut, and though she still tends to go over the-top at times, this obviously would not have worked without the daughter of Tony Curtis and Janet Leigh. In fact, this story is mostly focused on the psychology of Laurie and her PTSD, as we never learn much about what makes Michael Myers do what he does. Others returning from the original film include Nick Castle as The Shape (though James Jude Courtney shares the role this time), and PJ Soles in an all-too-brief and quite memorable appearance. As a veteran cop, and described as the first officer on the scene 40 years ago, Will Patton’s character appears to want to be anywhere but where he is (side note: Mr. Patton looks almost identical to Paul Simon these days).
Huge carving knives gleaming (despite the low light) make several appearances, and many of Michael’s grisly murders are handled off camera. But don’t mistake that for a lack of violence or gore – there is an abundance. Keep in mind that the film is positioned as a direct sequel to the 1978 film, and fans of that classic should be quite satisfied. Even the iconic 1978 theme song is re-worked by John Carpenter, his grandson Cody Carpenter and musician Daniel A Davies. The recognizable notes are a bit slower and bulked up through synth. As with most horror films, it would be pretty easy to point out the flaws, inconsistencies and necessary assumptions, but it’s one of the few that actually works if you avoid thinking too much and just “enjoy” the mythology and horror.
Greetings again from the darkness. It’s been 6 years since Scott Martin directed his last feature film, and most of his credits are as a producer. This time out, the Texas filmmaker proves his love of the western genre, and he’s so committed to the cause that he dons many Stetsons for the project: writer, director, producer, editor, and one of the lead actors. We always admire those who overcome obstacles and see their vision become a reality. Every movie doesn’t need to be a classic … it’s a Herculean task just to get a film made, and hopefully it provides some entertainment value (which this one does).
Mr. Martin plays Jake, who along with his friend Travis (Clint Hummel) travels the old west countryside finding trouble and making waves at every turn. Jake is the sharpshooter, while Travis is the ladies’ man. Neither seem to have any marketable skills, other than the knack for staying alive – which is an accomplishment given that they seem to be shot at quite frequently and run out of every place they ride into … even Mexico!
The opening shootout sets the mood for us, as it comes across as tongue-in-cheek, with just enough realism to let us know danger exists. Danny Trejo has an entrance worthy of his cult status as Mexican General Morales … a man very displeased with Jake and Travis. An annoying electronic score accompanies a chase scene that crosses the border and ends at a Cavalry outpost run by a Colonel played by the great Michael Pare (EDDIE AND THE CRUISERS), whose two scenes are over far too quickly.
Jake and Travis accompany city slicker Jim Andrews (Christoph Sanders) on a road trip via horseback to Big Kill, Arizona … a town Jim’s brother has promised him is booming. A recurring punchline of “Never heard of it” adds some levity every time Big Kill is mentioned. Instead of a lucrative silver mining town, they find a once boom town gone bust, and now the town is run by the most unethical “Preacher” (steely-eyed and square-jawed Jason Patric) that one is likely to find. The preacher is aided by his muscle: quick-draw Johnny Kane (Lou Diamond Phillips in a gaudy red suit and evil grin) and Stephanie Beran as a knife toting Felicia Stiletto – just one of the character names pulled straight out of the comic book universe.
Jim’s brother (played by KC Clyde) is located, and though Jim begins the courting process with local girl Josie Strong (a standout Elizabeth McLaughlin), the troubles and violence and literal backstabbing in town soon draws the boys into the fracas. Much of the film has the look of kids playing dress up, but as a tongue-in-cheek western, there is enough entertainment value to hold our interest for 2 hours. Fortunately music director Kays Al-Atrakchi resorts to more traditional trumpet-based western music after that opening chase. Most of the shootouts provide some humor, whether intended or not, but we can be sure the cast had a grand time making this one … that shines through loud and clear – especially in a town where the undertaker is named Digger.
Greetings again from the darkness. All movie watchers have at least two categories of films: those they will watch any time of any day, even if they can only catch a few minutes; and those they can’t imagine ever watching again since the first time through was so painful/miserable/boring/unentertaining. Now you may have other sub-categories as well, but you likely have at least those two. For me, the first category (the good one) includes both GODFATHER movies, PULP FICTION, THE RIGHT STUFF, DOUBLE INDEMNITY, JAWS, THE PRINCESS BRIDE, REAR WINDOW, and well … there are actually far too many to list! The second category is comprised of: THE BOUNTY HUNTER, PROBLEM CHILD, BORAT, TORCHLIGHT, DEATH BECOMES HER, CADDYSHACK 2, just about every Jerry Lewis movie without Dean Martin, and well … there are plenty more, but I’m getting a bit nauseous thinking about this.
The point is that for 33 years, CLUE has been on my ‘never-watch-again’ list. All these years later, I’m unable to provide any specifics about my initial viewing experience, other than it featured Martin Mull (never been a fan) and was entirely too silly and over-the-top for my ‘highly refined’ tastes (although I like “The Three Stooges” and Peter Sellers’ “Pink Panther movies) A friend, whose movie judgment I trust, has been encouraging/goading me into giving CLUE another try … to the extreme that she recently gifted me the DVD, thereby removing inconvenience as an excuse for avoiding it any longer. Anyone familiar with my “revisited” blog entries will know that what follows won’t be a traditional movie review. Expect some scattershooting.
So here I sit, pondering the movie universe and the ramifications of my having very much enjoyed this second viewing of CLUE – laughing many times and making note of just how clever it is … even amidst the packaging of silliness and slapstick in which it comes wrapped. There are, as you might imagine, some odd things associated with the film. First of all, it’s based on a Parker Brothers (now Hasbro) board game. Would you be excited about a Checkers movie? How about Yahtzee or Candyland? Doubtful. Next, few films have a writer/director like Jonathan Lynn. Mr. Lynn is Cambridge educated, has written best-selling books, is known for a popular British TV series, produced and directed many stage plays, is an accomplished actor – he even played Hitler on stage (in a comedy), and has directed other comedy films such as MY COUSIN VINNY (1992) and THE WHOLE NINE YARDS (2000) . In yet another odd twist, Mr. Lynn co-wrote the CLUE screenplay with John Landis, who of course, directed the comedy classics ANMAL HOUSE (1978) and THE BLUES BROTHERS (1980).
Set in a creepy New England mansion on a stormy 1954 evening – replete with on-cue thunder and lightning – the twice Oscar nominated composer John Morris (he co-wrote the BLAZING SADDLES theme with Mel Brooks) greets us with a tongue-in-cheek score seemingly sampled from every late night horror movie from the 1950’s. A group of splendidly dressed guests are arriving for a dinner party after each received a mysterious and provocative letter from the evening’s anonymous host. We soon learn that the letters’ connective tissue is that each of these folks are somehow associated with … GASP … the government! Even in 1985, this was a sure-fire way to characterize people as villainous.
It doesn’t take long for the first murder to occur, and other dead bodies are soon to follow – each in mysterious ways – leaving much doubt, and no shortage of suspects, as to the identity of the culprit. In fact, no one is to be trusted (other than possibly those already murdered). The confined environment of the mansion adds to the suspense, confusion, and comedy of the proceedings – as does a stellar cast of actors who know how to be funny in a serious kind of way.
Tim Curry stars as Wadsworth, who we assume is the butler and the fast talker and walker who seems to be running the show for the unknown host. Mr. Curry, of course, is forever enshrined in midnight movie lore as Dr. Frank-N-Furter in THE ROCKY HORROR PICTURE SHOW (1975). Wadsworth is assisted in the evening’s affairs by Yvette, played with jiggly wonder by Colleen Camp in a French maid uniform barely able to contain her assets. Ms. Camp has been a hard working actress since the 1970’s, was a two-time Razzie nominee in the 90’s, and can also be seen in this year’s THE HOUSE WITH A CLOCK IN ITS WALLS. The guests include Mrs. Peacock, played by Eileen Brennan, best known as the sadistic Drill Instructor in PRIVATE BENJAMIN (1980) and the heart-of-gold waitress in THE LAST PICTURE SHOW (1971); the dressed in black Mrs. White, played by comedy giant and two-time Oscar nominee Madeline Kahn, so terrific in her memorable roles in BLAZING SADDLES and YOUNG FRANKENSTEIN; Mr. Plum, played by Christopher Lloyd, his shock of white hair highlighting the BACK TO THE FUTURE franchise; Mr. Green, played by Michael McKean who only the year before was David St Hubbins in THIS IS SPINAL TAP, has been recently seen as savant lawyer Chuck McGill on “Better Call Saul”, and is likely the only relative of a signer of the Declaration of Independence in the movie; Colonel Mustard, played by the aforementioned Martin Mull whose career covers stand-up comedy, songwriting, TV series, movies, pro football, and his love of art; Miss Scarlet, played Lesley Ann Warren, nominated the previous year for her role in VICTOR VICTORIA, the star of one of my favorite offbeat 80’s films CHOOSE ME, and whose ex-husband John Peters was executive producer on CLUE; and finally, Mr. Boddy played by Lee Ving, known best for his punk rock band Fear. There are also a few cameos worth noting: Howard Hesseman from “WKRP in Cincinnati” appears as The Chief; Jane Wiedlin, a founding member of the band The Go-Gos who had a mega-hit with “Vacation” has a brief appearance as The Singing Telegram Girl; and Bill Henderson appears as a cop – this after a jazz singing career that crossed paths with the likes of Dizzy Gillespie, Frank Sinatra, Quincy Jones and others. Sharp-eyed viewers might also recognize the stranded motorist as actor Jeffrey Kramer, seen in JAWS as the deputy putting out ‘Beach Closed’ signs.
Filmmakers Lynn and Landis drew inspiration not just from the board game, but also such films as Neil Simon’s MURDER BY DEATH (1976, with Eileen Brennan), Agatha Christie’s AND THEN THERE WERE NONE (1945) and MURDER ON THE ORIENT EXPRESS (1974), TEN LITTLE INDIANS (1965, based on Ms. Christie’s stage version), and William Castle’s classic horror film HOUSE ON HAUNTED HILL (1959). CLUE has a very theatrical look and feel, as something that would work equally well on stage as on screen. The strong presence of Tim Curry almost forces us to notice some similarities to THE ROCKY HORROR PICTURE SHOW, though CLUE offers no musical interludes – other than the exceptional use of the song “Life is But a Dream”.
As far as I know, CLUE was the first film to be distributed to theatres with three different endings (quite a feat for a murder mystery). With the initial release, you were likely to see a different ending than someone at a theatre across town. Fortunately, the Blu-Ray version provides all three – none more likely or reasonable than the other (that’s part of the gag). Fox recently announced a remake of CLUE starring Ryan Reynolds is in the works. Expect it to look much different than the 1985 version. Many of the jokes from the film wouldn’t be acceptable or tolerated in this current age of political correctness, yet Madeline Kahn, with her impeccable comedic delivery offers up the timeless line: “Life after death is as improbable as sex after marriage”. Yes, the film is campy and screwball and filled with slapstick. However, it may also be described as a crackling-dialogue-driven, whip-smart whodunit movie dressed up as an outrageous slapstick comedy … something I failed to recognize on my first viewing more than 30 years ago. Consider that mistake corrected.
Greetings again from the darkness. “That’s one small step for [a] man, one giant leap for mankind.” Every junior high student learns that Neil Armstrong spoke those words when he became the first person to walk on the moon’s surface in 1969. So while his words are etched into our minds and the televised visuals of the historic event are seared into our corneas, most of us know little of the man who is renowned as an American hero. Director Damien Chazelle (LA LA LAND, WHIPLASH) finds a way to personalize a man’s story without sacrificing the corresponding grandiose theatre and immense danger.
Kicking off with one of the most intense cinematic sequences ever, the film puts us inside the cockpit of a test flight with Armstrong in 1961 as he bounces off the atmosphere and rockets towards near certain death. This opening makes the statement that this is no ordinary man, and this is no ordinary movie … and we are now prepared to hold on tight! Based on James R Hansen’s book, the only biography Armstrong authorized, the script from Oscar winner Josh Singer (SPOTLIGHT) expertly balances the test pilot/astronaut portion with the character study/personality of the man. Intensity is on display throughout – whether in a capsule or during family time.
Ryan Gosling stars as Neil Armstrong, and the story tracks him from 1961 through that famous moment in 1969. What we see is a man who was first an engineer, and then a pilot. A man whose intellect and nerve allowed him to be part of the second group of pilots selected for NASA’s astronaut program in 1962. The first group was the Mercury Seven. He was also a man emotionally devastated by the death of his young daughter Karen (from a brain tumor) and the numerous deaths of friends and associates in the space program. The film clearly shows how he was impacted.
Proving true JFK’s proclamation that the driving force wasn’t that it was easy, but rather that it was quite hard (and dangerous), we glimpse some of the inner workings of NASA, and what becomes clear that the space program was high stakes gambling filled with huge risks – all for a space race against the Russians that was motivated by ego and national pride. Daily danger was part of the job, as was the claustrophobia that comes with sitting in tin can space capsules being monitored by computers far less powerful than the cell phone you are likely using to read this. Armstrong’s claustrophobia somehow seemed less apparent during his flights than during press conferences or sitting at the kitchen table with his family – providing even more insight into the man.
Claire Foy (“The Crown”) plays Janet Armstrong, the strong-for-the-kids while suffering-in- (mostly) silence homemaker wife. Ms. Foy does a nice job of conveying the emotional turmoil that goes with being an astronaut’s wife, and having no one to share the uncertainty and worry with. Jason Clarke plays Ed White, the first American to walk in space (Gemini 4) and Armstrong’s neighbor and close friend. Olivia Hamilton plays his wife Pat, while Kyle Chandler plays Deke Slayton, and Corey Stoll offers up a not so complimentary portrayal of Buzz Aldrin. Other familiar faces in the cast include Shea Whigham as Gus Grissom, Christopher Abbott as Dave Scott, Pablo Schreiber as Jim Lovell (played by Tom Hanks in APOLLO 13), Ethan Embry, Ciaran Hinds, Patrick Fugit, Lukas Haas, Cory Michael Smith, Brian D’Arcy James, and Leon Bridges.
Meticulous attention to details of the era include kids that actually ask to go play outdoors (and aren’t overly impressed with astronaut dads). The sound design and set designs are phenomenal and complement the outstanding cinematography of Linus Sandgren (Oscar winner for LA LA LAND). The abundance of close-ups allow for an intimacy that makes the awe-inspiring space sequences even more breath-taking. Actual historic space audio is used whenever possible, and director Chazelle doesn’t shy away from showing us the “other side” of the space program: Gil Scott-Heron’s “Whitey’s on the Moon”, writer Kurt Vonnegut publically questioning the program, and many citizens wondering why so much money is being spent on rockets while there were so many other areas (including Vietnam) in need of attention.
The humor is often quite sly, including a scene where his competitive applicants shrug off Armstrong as only a “Civilian”, unaware of his remarkable service and record in the Korean War as a Navy Fighter Pilot. Gosling’s quietly intense portrayal of Armstrong could be termed constrained, but it’s quite fitting given his subject. Composer Justin Hurwitz (Oscar winner for LA LA LAND) delivers and unusual but fitting score, and we can’t help but realize this would make a terrific trilogy bookended by THE RIGHT STUFF (1983) and APOLLO 13 (1995). Chazelle presents a fitting bio of a true American hero (and yes, we can see the flag on the moon), while also giving us a look at the harrowing process of putting folks into space. It’s on us to decide if it’s worth it, but leaves no doubt that President Kennedy was right … it is hard.
***On a personal note, I attended the first year of Edward H White Middle School in San Antonio, and his widow Pat White came to the Grand Opening. I vividly remember what a classy lady she was and how proud she was of her husband.
Greetings again from the darkness. HEARTS OF DARKNESS: A FILMMAKER’S APOCALYPSE was released in 1991. It was an incredible documentary that explored the struggles of Frances Ford Coppola in making his classic film APOCALYPSE NOW (1979). Although it’s totally unrelated to either of those films, this latest from director Milcho Manchevski kept reminding me that we rarely get a peek at just how challenging it is to complete a film, and HEARTS OF DARKNESS is likely the cream of the behind-the-scenes crop.
Director Manchevski directed the Oscar nominated BEFORE THE RAIN (1995), and he, along with co-writer W.P. Rosenthal, deliver an indie-film societal commentary with some not so complimentary observations on certain segments of our populace. Producer Kate (Sarah Goldberg) and director Trevor (Will Janowitz) are in a relationship and are trying desperately to make their name with a documentary that can play film festivals. While filming in a homeless shelter, they stumble upon a woman who calls herself Bikini … a homeless African-American Army veteran who is desperate to get her daughter out of the social services system. Bikini (Condola Rashad) is a striking, volatile woman with a story – the perfect subject for Trevor and Kate’s documentary.
It takes a while for us viewers to get the rhythm of the film. We are watching as a documentary crew attempts to make a film about a woman who may be delusional or bipolar, and at a minimum is a bit unstable. Bikini admits to a nervous breakdown while in Iraq, and is inconsistent remembering to take her medication. However, in her moments of clarity, we recognize her exceptional intelligence and charisma. At other times, we worry about the safety of her and those around her. We even question whether she actually has a daughter and how much of her story we can believe.
While coming to grips with the presentation and what to make of Bikini, we also have to adjust to Trevor, an obnoxious jerk who only cares about making his film – and is willing to exploit Bikini (or anyone else) to get it done. At the opposite end of the spectrum is Kate, who has a heart of gold, even at the expense of reality at times … she’s the stereotypical modern day liberal extremist who wants to save everyone and everything. It’s the only way she knows to rid herself of white guilt syndrome.
Cinematographer Joshua Z Weinstein (director of MENASHE) works wonders with the tight residential quarters as well as the numerous urban settings from the streets of New York. Ms. Rashad, whom many will recognize from “Billions”, delivers a powerhouse performance as Bikini, though it’s a bit of stretch to see someone with movie star looks pulling off the role of someone living on the streets. Cynicism is present throughout, and director Manchevski really wants us to question what is ‘truth’ … what happens when the media crosses the line and influences the story … what is the real story?
Greetings again from the darkness. Jim Morrison’s lyrics, “This is the end. Beautiful friend. This is the end” have been interpreted to have many meanings over the years, and they also seem just right for what is likely the final on screen performance from one of the few remaining iconic movie stars. Robert Redford claims this is probably the end of his nearly 60 year acting career. If that’s true, he couldn’t have selected a better project for his victory lap. The film itself is a nice mixture of mass appeal and the independent projects that Mr. Redford has long supported. As for the character he plays, it too fits him like a glove.
Filmmaker David Lowery (fresh off last year’s indie favorite A GHOST STORY) has adapted the story from a 2003 “New Yorker” article by David Grann, and it’s based on a true story – one that’s a bit difficult to believe … well, at least until Mr. Redford brings Forrest Tucker to life. Mr. Tucker escaped from San Quentin at age 70, and it was just one of his 16 prison escapes during a lifetime of robbing banks and getting caught. The story is that Tucker simply enjoyed the work, and went about it in the most gentlemanly possible way – often described by bank employees as polite and nice. It’s the perfect character for Redford’s trademark twinkle and grin acting style.
Most of this portion of the story takes place in 1981, and the film captures not just the era, but also the essence – something much deeper than clothes and cars. Starring alongside Mr. Redford is Sissy Spacek as Jewel, and their chemistry allows the quiet moments between their characters to work as effectively as their (sometimes) playful verbal exchanges. Tucker’s “crew” is manned by Danny Glover as Teddy, and the great Tom Waits as Walter. Waits is always fascinating to see on screen, and here he gets one especially good scene to shine. They are referred to as “The Over the Hill Gang” (in contrast to “The Hole in the Wall Gang” from Redford’s classic BUTCH CASSIDY AND THE SUNDANCE KID.
Casey Affleck (reunited with director Lowery for the third time) plays Austin Texas detective John Hunt, who spent a great deal of time chasing Tucker, and actually put the puzzle pieces together. Tika Sumpter appears as Hunt’s wife, Gene Jones is memorable as a Bank Officer, and for you Austin music lovers, Lefty Frizzell’s granddaughter makes a brief appearances. Other far too brief appearances include Isiah Whitlock, Jr, Keith Carradine (weirdly brief), Robert Longstreet, John David Washington, and Elisabeth Moss. The parade of familiar faces can be a bit distracting, but it’s understandable why so many wanted to work with Lowery and Redford.
Joe Anderson’s cinematography is terrific, and the film is oddly devoid of violence. If not mistaken, I believe we only see Tucker’s gun once … and that’s in a glove compartment. There is a certain easiness and warm fuzzy to the film, somewhat conflicting with what we would expect following an armed bank robber!
Of course, the reason we buy into the gentlemanly outlaw is the performance of Robert Redford. Charming and easy-going comes pretty easily to a man that is charming and easy-going. Director Lowery even treats us to a quick clip from young Redford’s film THE CHASE, and does so within a delightful montage of Tucker’s prison escapes. Few actors get such a perfect farewell tribute, and though it’s not quite Ted Williams hitting a home run in his final at-bat, at least Redford gets to tip his cap to the fans. Since he’s moving his career off screen, let’s bid a fond and appreciative farewell to the man that once proclaimed, “I’m better when I move”.
Greetings again from the darkness. This is the 4th iteration I’ve seen of A STAR IS BORN. First there was writer/director William Wellman’s original version in 1937 which won the Oscar for Best Original Story, had 6 other Oscar nominations (including Best Picture), and starred Janet Gaynor and Frederic March (he playing a veteran actor and she a starlet). Next came the 1954 remake with James Mason and the fabulous Judy Garland (he playing a veteran actor, she an upcoming singer/actress). Both were nominated for Oscars, and the film was directed by George Cukor (10 years later would win an Oscar for MY FAIR LADY). 1976 brought the second remake (third version), this one starring Barbra Streisand and Kris Kristofferson. It won a Best Song Oscar for Paul Williams, and was directed by Frank Pierson, known best for writing the oft quoted line “What we’ve got here, is a failure to communicate” from COOL HAND LUKE (he also won a Best Screenplay Oscar for DOG DAY AFTERNOON). So perhaps it’s understandable that 81 years after the original, Bradley Cooper chooses this familiar story for a generational update and his directorial debut.
When it’s announced that a new version of this story is being made, the obvious first question anyone asks is ‘Who did they cast?” Many were surprised when it was learned that Bradley Cooper had cast himself, and that Lady Gaga would take on the female lead. Sure, we all know Bradley Cooper as an Oscar nominated actor from SILVER LININGS PLAYBOOK (2012), AMERICAN HUSTLE (2013), and AMERICAN SNIPER (2014) … but can he SING? And yes, many had seen Lady Gaga in TV’s “American Horror Story”, but could she possibly carry a major film – sans heavy make-up and gimmicky stage gadgetry?
The audience reactions are in. Bradley Cooper and Lady Gaga blow away the 1976 version, and where they rank versus the other two versions, comes down to personal preference. Mr. Cooper delivers an odd, yet effective, performance as the boozy, aimless rocker Jackson Maine. Not only does he mimic Sam Elliott’s speaking voice and cadence, his performance seems purposefully close to that of Kristofferson from 42 years ago. The great Sam Elliott does play Cooper’s (much) older brother, so the oratory choice makes some sense … it’s just a bit off-putting at first. Cooper is believable as the rocker thanks to his stage presence and charm. We never doubt Jackson Maine is a rock star.
The most stunning and pleasant surprise here is Lady Gaga as Ally. For anyone who still thinks of her in terms of raw meat fashion at industry events, prepare yourself for astonishment. Her beautiful and powerful voice is on full display throughout the film. In fact, her songs and singing are the highlights of what is a terrific film that should have wide appeal. The first song she sings, “La Vie en Rose” (made famous by Edit Piaf) is quite simply jaw-dropping in its beauty.
Ally is a pretty grounded woman from humble means. She works as a waitress and sings whenever she can … having been held back from pursuing her dreams by a well-meaning father (Andrew Dice Clay) who says she doesn’t have the looks to be a star. Ally has a Carole King “Tapestry” poster on her bedroom wall, and we soon learn she could probably sing most any song from that classic album and make it her own. When Jackson and Ally meet, a complex romance and professional partnership forms. We know those rarely end well. As Jackson shuns his protective brother, battles an ever-worsening hearing issue and a self-destructive drinking problem, Ally tries to remain loyal to the man she loves … even as her own career explodes down a path Jackson barely recognizes.
In addition to the aforementioned Dice Clay (surprisingly subtle here), there is a musical duet with Marlon Williams (in the Roy Orbison tribute) and Presley Cash, and surprising supporting characters played by Dave Chappelle and Eddie Griffin. Probably not as surprising, Jon Peters is listed as a Producer on the film. If you are unfamiliar with Mr. Peters, he was once a hairstylist to celebrities and in the early 1970’s fell in love with Barbra Streisand. His first credit as Producer was for her film … you got it … A STAR IS BORN (1976).
Mr. Cooper does a nice job tackling such a large scale and familiar project for his first directing gig, and we are certainly appreciative of his avoiding inclusion of Streisand’s “Evergreen”, and instead showcasing the talents of Lady Gaga. It’s likely Lady Gaga will receive a bit more credit for her acting than is probably deserved (an Oscar nom is possible), but her impact on the movie cannot be understated. Bradley Cooper’s next project as actor/director has been announced as BERNSTEIN, where he will play the great composer Leonard Bernstein. Kudos to Cooper for dreaming big!
Greetings again from the darkness. For those movie-goers who believe there is no need for another comic book movie, you now have People’s Exhibit A. This is the 5th Marvel film of 2018 (yep, that’s a new one every other month!), and it’s the first one proving challenging to say much of anything that is positive or complimentary.
It should be noted that this is not a Superhero movie, but rather a film based on the Marvel Comic characters and stories of Todd McFarlane and David Michelinie. Four writers are credited with the screenplay, and it seems they either needed more or fewer. Director Ruben Fleisher (ZOMBIELAND, 2009) apparently worked with what he was given, hoping the stellar cast or the CGI could salvage the project.
The always terrific Tom Hardy (Bane in THE DARK KNIGHT RISES) stars as Eddie Brock, a renowned investigative reporter popular for breaking stories of corruption and fraud. Unfortunately, he has a significant lapse in ethics – an unusually forthright comment from Hollywood on today’s media. This lapse costs Brock his job, his girlfriend (4 time Oscar nominee Michelle Williams), and any semblance of normalcy. While investigating the unimaginable human-alien experiments of megalomaniac Carlton Drake (Riz Ahmed), Brock takes on the powers of the symbiote (Venom) and spends the rest of the movie either trying to control these powers, sitting back and letting the powers take over, or exchanging frat boy dialogue with the possessive being who picked up all nuances of the English language pretty darn quickly.
Venom was last seen in the lackluster SPIDER-MAN 3 and was played by Topher Grace. This time out, Venom is the focus and Spidey is nowhere to be found or mentioned … at least not until post credits (a terrific animated sequence). The CGI is at times very impressive – reminiscent of something John Carpenter might have ordered. Two sides of the Transamerica Pyramid provide a nice visual, however, the effects are not at all consistent. Far too often … especially the battle between Venom and Riot …it’s just plain messy (like letting a group of toddlers play with black and gray slime).
The film’s saving grace could have been the interactions between Mr. Hardy and Ms. Williams, both stellar actors, but the dialogue and situations are so ridiculous that even those scenes don’t click. The moments that draw laughter from the audience may or may not have been by design, but there are far too many ‘forced comedic moments’ that just fall flat.
Composer Ludwig Goransson (CREED, BLACK PANTHER) delivers some nice moments with the score, but the Eminem song over the closing credits sounds amateurish. The film is very loud, and not so much lacking direction as it is burdened with too many directions and misfires. A comic book movie’s first priority is to be fun, and this one just isn’t much of that. Surprisingly, the film is rated PG-13 rather than R, so the excessive violence (and there is plenty) never actually spills a drop of blood. Perhaps the goal was to make a Marvel movie so uninspiring that BLACK PANTHER’s Oscar chances would be enhanced. Otherwise, there’s no excuse.
Greetings again from the darkness. Actors becoming directors is a Hollywood tradition going back many years, although it seems to be quite the trend these days. Just within the past 3 weeks, there have been feature film directorial debuts from Bradley Cooper, Jonah Hill, and now Paul Dano. You surely know Mr. Dano from his work as the uber-quiet brother from LITTLE MISS SUNSHINE, his dual role in THERE WILL BE BLOOD, and his turn as the early years’ Brian Wilson in LOVE & MERCY. He’s a talented actor who now flaunts a near-master’s grasp of filmmaking.
Posted by David Ferguson 
Movie Reviews from the Dark 