CROWN HEIGHTS (2017)

August 31, 2017

 Greetings again from the darkness. Being wrongly accused of a horrible crime would be a nightmare. Being wrongly convicted would be the worst possible nightmare. Prison life must be a daily nightmare. What could make such nightmares even worse? How about serving 21 years for a crime you didn’t commit, with about 4 years of that in solitary confinement.

Numerous recent projects have focused on a legal and justice system that sometimes seems broken. Some of the best include: HBO’s “The Night Of”, Ana DuVernay’s documentary 13TH, and Jamie Meltzer’s documentary TRUE CONVICTION. Writer/Director Matt Ruskin has adapted this most recent based-on-a-true-story docudrama from a podcast episode of “This American Life”.

While the general topic of “justice” is interesting enough, it’s the individual personal stories of justice denied that add such power, immediacy and emotion. In April 1980, in the Crown Heights section of Brooklyn, a young man is arrested on suspicion of murder. Lakeith Stanfeld (SHORT TERM 12) plays Colin Warner, a local petty thief whose family is from Trinidad. The “suspicion of murder” is really not accurate, since the arresting cops knew Colin wasn’t the guy, but were more interested in clearing the case than actually solving it.

What follows is a commentary on crooked cops, a flawed judicial system, and the willingness by the guilty party to let another go to jail if it means they remain free. However, more than any of that, this is a wonderful story of one man’s unrelenting pursuit of justice for his friend. Former NFL star Nnambi Asomugha (married to Kerry Washington) plays Carl “KC” King – Colin’s friend who refuses to give up on him and constantly hunts for someone to ensure justice is served … no matter how much time has passed. KC never stops, even when he realizes this is a system that doesn’t often admit its mistakes. The tenacity of KC is likely to have viewers questioning if they have a friend so loyal … or if they themselves could be such a friend.

Supporting work is provided by Zach Greiner, Josh Pais, Luke Forbes, Marsha Stephanie Blake, Adriane Lenox, Nestor Carbondell, Bill Camp, and Yul Vazquez. Natalie Paul plays Antoinette, the saintly woman who falls in love with Colin and marries him while he is incarcerated.

We watch as the wheels of injustice roll over Colin – even demanding that he admit remorse in order to have his request for probation considered. Being a man of strong conviction, Colin holds firm on his innocence despite being hardened by life behind bars. Director Ruskin has delivered a decent movie, but with its vital story and issue, it’s one probably better suited to a documentary structure. He wisely chooses not to pile on the legalities, and focuses more on the frustrations with a flawed system while also including an anti-death penalty message supported by the statistic of 2.4 million in prison – an estimated 120,000 of which are innocent.

watch the trailer:

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Posted by David Ferguson

GOOD TIME (2017)

August 24, 2017

 Greetings again from the darkness. The Drifters and later George Benson sang “the neon lights are bright on Broadway”. Well, we aren’t on Broadway, and though they aren’t bright, the neon lights are ever present and crucial to the tone of the latest from brothers and co-directors Benny Safdie and Josh Safdie.

Robert Pattinson stars as Constantine “Connie” Nikas, and turns in a performance unlike anything we have previously seen from him. Connie is protective of his brother Nick (played by director Benny Safdie), and he’s also a grungy unhinged bank robber. He doesn’t look like a man with a plan, but fortunately, Connie is a smooth talker who thinks ‘quick on his feet’. We say fortunately, because he is barraged with an endless stream of danger, catastrophes and near traumatic events as the story progresses.

A botched bank robbery separates the brothers and sends Nick to jail and Connie on the lam. Co-writers Ronald Bronstein and Josh Safdie seemingly take immense pleasure in launching Connie off-the-rails has he desperately attempts to avoid capture while simultaneously figuring out how to spring brother Nick. With a frenetic pace that escalates Griffin Dunne’s misery in AFTER HOURS, Connie’s escapades have him crossing paths with his girlfriend played by Jennifer Jason Leigh (wish she had more screen time), a psychiatrist played by Peter Verby, a new anxious-to-help acquaintance in Taliah Webster, an accidental partner-in-crime played by Buddy Duress, an amusement park security guard played by Barkhad Abdi (“Look at me!”), and a brutish thug played by hip-hop artist Necro.

The pounding, pulsating techno/synth music perfectly complements the unusual tone (almost noirish, and bordering on comedic), feverish pace, and fascinating visuals throughout this hyper-kinetic frenzied trip. Some viewers will be turned off quickly, and those that stick with it will be rewarded with an entertaining crime thriller featuring Pattinson’s best performance to date.

watch the trailer:

 

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Posted by David Ferguson

KIM DOTCOM: CAUGHT IN THE WEB (2017, doc)

August 24, 2017

 Greetings again from the darkness. On paper, it reads like some cheesy B-movie thriller on the trail of a super-hacker nicknamed “Dr. Evil of the internet” as he builds his empire by stealing the work of others. However, director Annie Goldson is dealing in reality and submerges us in the years-long saga of Kim Dotcom, the (somewhat) proud owner of the Dr Evil moniker. This is every bit as much a commentary on legalities and technology as it is on the ‘livin’ large’ lifestyle of the film’s quite colorful subject.

Bordered by a security wall and monitored by cameras, the sprawling estate in Coatesville New Zealand is where we begin. It’s the home of super-hacker and entrepreneur Kim Dotcom, formerly known as Kim Schmitz, and his wife Mona and their 3 kids. Think Jordan Belfort in THE WOLF OF WALL STREET and you’ll have a good idea of the type of extreme parties that Kim and his cohorts hosted. In 2012, a pre-dawn full SWAT gear raid of the estate changed everything – and we are privy to some of the actual footage.

After the raid, law enforcement threw just about every possible charge at him: money laundering, racketeering, and most crucially, copyright infringement. Perhaps you were one of his MegaUpload customers? Millions of people were, and he banked hundreds of millions of dollars from his site – a site designed for users to share files with others. Of course, it turned into a site where mostly what was uploaded and shared were digital copies of movies and music. The files spread across the globe while leaving artists and production companies empty-handed with no royalties. The question of law boiled down to this: can an online provider be protected or insulated from the (illegal) actions of its users?

Kim Dotcom has been described as a parasite, a criminal and as evil. Obviously, he sees himself much differently. While reveling in his “most wanted man online” badge, he prefers to position himself as a resistance fighter … one who has simply seized an opportunity afforded by a technological revolution of which lawmakers can’t maintain pace.

Director Goldson provides as much structure as possible to a messy and multi-faceted legal story, while also presenting the super-sized personality of Kim Dotcom … a man driven by ego, greed, and fame. He clearly thrives on his celebrity status (as evidenced by his participation in a Town Hall meeting with Julian Assange and Edward Snowden), and from a very early age became quite comfortable with relaxed ethics in our ever-evolving culture of technology.

In an era of dissolving morals, he is a difficult man to muster sympathy for. It does seem, however, that he was at a minimum, a victim of over-reaching by law enforcement (from New Zealand and United States). The legalities of the search warrant and charges are a bit murky (and still being challenged), and viewers will likely teeter between ‘lock him up’ and ‘modernize the laws’. We all know the universal internet is tied to the global economy, so why are international copyright laws so fragmented and antiquated? Instead of a B-movie thriller, Ms. Goldson has delivered a true-to-life horror story … one with no clear resolution in sight.

watch the trailer:

 

 

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Posted by David Ferguson

PATTI CAKE$ (2017)

August 23, 2017

 Greetings again from the darkness. A gritty, New Jersey based story of a blue-collar white girl trying to make it in hip-hop sounds like the makings of a film festival favorite – especially since it’s the first feature from its director and features a star-making turn from an unusual leading lady. After being warmly received at Sundance and Cannes (and other festivals), the only remaining question is, will mainstream audiences show the love?

The obvious comparison here is Eminem’s 8 MILE, but there is also a touch of ROCKY, THE COMMITMENTS, and most all other sports and music movies featuring the dreams of those from ‘the other side of the tracks’. Writer/director Geremy Jasper has a nice feel for setting and actors, and it’s only the (at times) formulaic nature of the script that keeps this one in the crowd-pleasing category rather reaching a level of greatness.

Australian native Danielle Macdonald plays Patti Dombrowski, also known as Killa P, and most every other cruel nickname (Dumbo, White Precious) one might pin on a plus-sized Anglo girl found street rapping. As you would expect, her tough outer visage masks an all-too-familiar inner insecurity borne from a larger than life mother who blames her daughter for every misery in life. Bridget Everett plays the mother Barb, a hard-drinking, hard-singing, hard-blaming type who gives such sterling mother advice as ‘lose the top button’ for that job interview. Mother Barb, providing proof of her distance from reality, refers to herself and daughter Patti as “the Dombrowski sisters”, whom she claims are “setting the world on fire”.

The tenuous mother-daughter relationship is at the core of the film, and these two actresses (and the movie) are at their best in their scenes together. On the music side, Siddarth Dhananjay plays Jhen, Patti’s eternal optimist-pharmacist-music partner, while Mamoudou Athie is Basterd, a self-proclaimed anti-Christ anarchist. The three form a band called PB&J (Patti, Basterd, Jhen) which provides friendship, a creative release, and, mostly, a reason for existence. Their band, and especially Patti, gets a boost from Nana (a remarkable Cathy Moriarty) on vocals and the CD cover. Ms. Moriarty is now 56 years old (playing older here), and was only 19 when she made her stunning screen debut in RAGING BULL. Other supporting work is provided by MC Lyte, Wass Stevens and Sahr Ngaujah.

The neighborhood is Bayonne New Jersey (see CHUCK), an area where lines such as “blood is thicker than Jager” actually make sense. A 23 year old would-be rapper can work as a bartender and caterer, and still find time to hone her musical skills. It’s the land of misfits and music that only sounds sweet to a few ears – where dreams don’t consist of owning yacht, but rather “making it across the bridge”. Crowd-pleasing movies are quite welcome these days, and filmmaker Jasper has joined with dynamite actresses Macdonald and Everett in delivering just that. Expect all to reach greater heights over the next few years.

watch the trailer:

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Posted by David Ferguson

LOGAN LUCKY (2017)

August 17, 2017

 Greetings again from the darkness. When we think of public figures retiring, we typically accept that athletes, politicians and entertainers will no longer be honing their craft or grinding in their profession. Perhaps they will write their memoirs, or even dodge TMZ completely by spending their days fishing or playing golf. When Oscar winning film director Steven Soderbergh announced he was “retiring” from making movies after his 2013 SIDE EFFECTS, he simply transitioned to television (excellence in “The Knick”). Most of us assumed it was only a matter of time until he returned to the medium that made him famous. This “retirement” lasted less than 4 years.

When a line in the film describes it as “Ocean’s 7-11”, we can assume this is Mr. Soderbergh admitting that his “Ocean’s” trilogy was the inspiration for this comedy-satire heist film focusing on a well-planned crime by a team of siblings, rednecks and convicts. Channing Tatum, Adam Driver and Riley Keough star as the Logan clan – Jimmy, Clyde, and Mellie, respectively. With NASCAR as the target, the Logans are joined by the Bangs: Sam (Brian Gleeson), Fish (Jack Quaid), and Joe (a scene-stealing bleached blonde Daniel Craig).

Joining in the unconventional Hicksville fun are Katie Holmes and David Denman as Jimmy’s ex-wife and her new husband, a recently shorn Sebastian Stan as a race car driver, Seth MacFarlane as an obnoxiously rich blow-hard, Katherine Waterston in a too-brief role as a traveling medic, Hilary Swank as a determined FBI Agent, and Dwight Yoakum as a prison warden who rarely admits a problem. Also playing a key role is the music of John Denver … a move that teeters between tribute and punchline.

The set up and characters lend themselves to more laughter than we actually experience. There are more awkward moments than hilarious ones. As examples, brother Clyde’s (Driver) artificial hand is the center of focus on a few occasions, as are Joe Bang’s (Craig) expertise in science, and the small town West Virginia addiction to child beauty pageants. Their racetrack robbery plan is both ingenious and preposterous, which is also a fitting description of the film.

A writing credit goes to “Rebecca Blunt”, which in keeping with Soderbergh’s tradition, is a pseudonym (or nom de plume) for an unnamed writer (likely Soderbergh himself). The film mostly succeeds in delivering the opposite of the traditional Ocean’s slickness, and it’s entertaining to watch Channing Tatum and Daniel Craig (the credits list him as “introducing Daniel Craig) having such a good time on screen. While it doesn’t deliver the laughs of FREE FIRE or TALLADEGA NIGHTS, it is nice to have Soderbergh back where he belongs. Rather than an instant classic, it’s more likely to be remembered for Soderbergh’s attempt to change the movie distribution channels … Google can provide the details if you are interested.

watch the trailer:

 

 

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Posted by David Ferguson

CALIFORNIA TYPEWRITER (doc, 2017)

August 17, 2017

 Greetings again from the darkness. QWERTY. Chances are you recognize that from your laptop keyboard, and have never thought about the origin or design reason. This is just one of the fascinating topics in the surprisingly interesting and entertaining documentary from Doug Nichol (former music video guru for Aerosmith, Lenny Kravitz, Sting, and The New Kids on the Block).

Did you know there are folks who collect and still use typewriters? Well there are, and you’ve even heard of some of them: Tom Hanks, Sam Shepard, David McCullough and John Mayer. We hear from each of these as they describe their connection to the “old school” way of producing text on a page.

Mr. Nichol began with the idea of making a short film focusing on a small typewriter repair shop in Berkeley. As the story evolved, he learned of the many facets associated with the community of typewriter enthusiasts … those who refuse to give up the old way simply because a new way exists. There is history. There is nostalgia. There is a link to creativity. The film explores all of this and more.

Christopher Latham Sholes was a believer in Women’s Rights in the 1800’s, and his invention of the typewriter was to create more job opportunities for women. His prototype looked more like a piano, and due to a lack of investor interest, he finally had to sell to Remington in order to get production and marketing. By 1890, there were 60 manufacturers of typewriters, and the Sholes and Glidden model remains a gem of any collection even today.

It’s bittersweet to see the recently deceased Sam Shepard and hear him explain how he never got along with a computer screen, but loves the feel and sound of his typewriter. He created some of the most marvelous plays ever written, and compares loading the paper to ‘saddling a horse’, and notes the sound of typing has a “percussion about it”.

John Mayer recalls seeing Bob Dylan “playing” a typewriter as he wrote his songs, and has since made it apart of his own songwriting process. An inordinate amount of time is spent with Mayer onscreen, but it does make the point that even the generation raised on technology can find value in an object that was once an office staple, and is now a mere relic to most. Writer David McCullough claims the typewriter is the only way he can write, and Tom Hanks seems to truly enjoy talking about his typewriter obsession, and how he spends time each day typing out thank you notes and correspondence.

The repair shop is the heart of the story, and we continually come back to Ken Alexander as he lovingly restores each machine that comes in. It’s with a bit of irony that we watch Ken and the store owner Herb come to realize that they must rely on today’s technology of websites and social media as a last hope for survival.

In stark contrast to Ken bringing typewriters back to life, we see modern sculptor Jeremy Mayes as he scavenges for typewriter parts for his latest piece. And in an odd twist, we meet a group who makes music with typewriters and actually perform classic songs with their own vibe.

Nostalgia has brought back vinyl records, and there is a community of folks who believe the typewriter revolution is underway. The rationale is that technology is now ruling our lives and we need to step back and get in touch with what is real and produce tangible results – not just use up storage on a hard drive. While we may not be convinced that “the revolution is typewritten” (from The Typewriter Insurgency Manifesto), the film is actually thought-provoking as it tracks and connects humans-machines-technology.

watch the trailer:

 

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Posted by David Ferguson

IN THIS CORNER OF THE WORLD (Japan, 2017)

August 17, 2017

 Greetings again from the darkness. There is something hypnotic about the hand-drawn animation of writer/director Sunao Katabuchi’s film based on the 2007-09 Japanese manga (comic) by Fumiyo Kouno. With some similarities to Takahata’s 1988 classic Grave of the Fireflies, it’s more than a wartime drama – it’s a story of the human spirit.

It’s 1935 and Suzu is a young girl who lives in Eba, a town in Hiroshima. She is an exceptional artist with a vibrant imagination and an adventurous approach to life. Her innocence and pleasant childhood existence is rocked when, as a teenager, she receives an out-of-the-blue marriage proposal from a stranger. Life with his family in Kure forces Suzu into a daily routine of cleaning, mending and cooking – all while longing for her family in Eba.

The film clicks through the months and years, and provides a history of war time from the perspective of a family and village. While the date of August 6, 1945 hovers on the viewer’s mind, we experience how family dynamics are affected by war time. For Suzu, her daily routines such as food preparation provide a necessary structure and distraction, despite the ever-worsening shortage of food and supplies. These stresses are compounded by air raid warnings over the radio and Suzu suffers through vivid nightmares.

We so easily connect with Suzu as she continually fights through hardships – both physical and emotional – because of her determination to live a good life and overcome all obstacles. This is such expert story telling with a beautiful presentation, that the film periodically reminds us that war is close by. Even in a war torn country, the people must find a way to go about daily life while treasuring the rare moments of joy and understanding the strength of togetherness. It’s rare that an animated movie can deliver such a humanist look at fully formed characters and their feelings … all within a historical setting.

watch the trailer:

 

 

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Posted by David Ferguson

WIND RIVER (2017)

August 14, 2017

 Greetings again from the darkness. With his two most recent screenplays, Sicario (2015) and the Oscar nominated Hell or High Water (2016), Taylor Sheridan seemed acutely attuned to the fine line between right and wrong, and the twisted complexity of new age American values when contrasted with “old school”. This time out, he both writes and directs. The themes remain familiar while the landscape shifts to the frozen tundra of Wyoming.

We first meet Fish & Wildlife Service tracker/hunter Cory (Jeremy Renner) as he picks off (with a long range rifle) a pack of wolves that is methodically encircling goats on a ranch. A very similar type situation plays out later in the film … only with humans in place of wolves and sheep. Not long after dispensing with the wolves, Cory stumbles upon the barefoot corpse of a young girl he recognizes as the former best friend of his daughter. Her frost-bitten bare feet visible, face buried in the snow, bleeding from an apparent assault, and miles from the nearest house or dwelling, the girl’s corpse is telling a story that Cory knows requires the immediate attention of law enforcement.

Ben, the Native American Reservation Police Chief (Graham Greene) has jurisdiction unless the Medical Examiner rules it a homicide. In the meantime, FBI Agent Jane Banner (Elizabeth Olsen) shows up dressed more for winter in her native Florida than the brutally cold Wyoming plains. Jane quickly proves she is no ordinary “fish out of water” (even if she lacks experience for such a case), and commissions Cory to help her out with the local people and land.

The film has many ties to the fine TV series “Longmire”, and though Mr. Renner and Ms. Olsen are well known in the Marvel Universe as Hawkeye and Scarlet Witch, there are no superheroes present here – just a convoluted society within a seemingly forgotten (or at least) ignored part of the country. It’s a police procedural blanketed in the always-falling snow, an underground drug culture, and the quiet animosity between the outside world and the Reservation (where many have given up hope).

These aren’t people that talk much, although they say plenty. Sometimes the dialogue is a bit too obvious in Mr. Sheridan’s goal of leaving no viewer behind, especially when combined with overly detailed flashback that will have the amateur sleuths in the audience feeling a bit letdown in receiving a full explanation. However, when cinematographer Ben Richardson (Beasts of the Southern Wild, The Fault in Our Stars) loses the shaky-cam from indoors, and beautifully lays out the vastness of the snow vistas, forest and mountains, the remoteness and stunning landscape becomes a character as important as any other.

The supporting cast is stellar and features Julia Jones, Gil Birmingham (Jeff Bridges’ partner in Hell or High Water), Jon Bernthal, Kelsey Asbille, and a crazed James Jordan. Mr. Greene adds a touch of deadpan humor and resignation to his plight, while Ms. Olsen is effective as the ‘green’ agent dealing with an unfamiliar white-out. Mr. Renner truly excels as the throwback cowboy carrying out his duties while bearing a burden exacerbated by this case. The crunching snow, predatory lions, and high-speed snowmobiling never cause us (or Cory) to lose sight of how important it is to know the land and the people … and walk that line between right and wrong.

watch the trailer:

 

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Posted by David Ferguson

BRIGSBY BEAR (2017)

August 10, 2017

 Greetings again from the darkness. Many kids get obsessed with their favorite TV show and characters. Perhaps it’s Minnie Mouse, Sesame Street or even Teenage Mutant Ninja Turtles. Whatever or whomever it is, they typically enjoy sharing their experiences with their friends. When we first meet James, he is staring, fully-engaged, at an odd, poorly produced show that appears to be a relic from the 1970’s. His room is packed with franchised merchandise like a bedspread, a lamp, toys, and even a stuffed animal. We immediately notice two problems: we don’t recognize this talking TV bear and James appears to be not a child, but a twenty-something with a 3 day beard growth.

Kyle Mooney has gained a following with his work (especially his quirky short films) on “Saturday Night Live”. Here he collaborates with director Dave McCrary (another SNL stalwart) and co-writer Kevin Costello on their first feature film. Mr. Mooney also stars as James, the “Brigsby Bear” expert who was kidnapped as an infant, held captive in a desert bunker and brainwashed by his captor “parents” Ted and April (an excellent Mark Hamill, Jane Adams).

Being confined and isolated in a controlled environment with only artificial culture in no way prepares James for the long-delayed release back into the wild known as society. His biological parents Greg and Louise (Matt Walsh, Michaela Watkins) are thrilled to reunite with their long lost son, and very patient with James’ struggles to assimilate.

James is unceremoniously dumped into the real world without his one security blanket: a TV bear that doesn’t exist. He goes from being disconnected from the outside world to being disconnected inside a new world he doesn’t know or recognize. Despite the pressures he is up against (police, family, new friends), he refuses to let go of his obsession.

It’s at this point where we really root for Mooney and McCrary to embrace the weirdness. Instead, the story takes a bit of a conventional turn and we find ourselves no longer reveling in oddity, but instead cheering for James to continue influencing those who initially viewed him as the proverbial fish out of water. The film ends up as a creative story about creativity … if that’s what it’s about (or if it’s about anything).

Strong supporting work is provided by Greg Kinnear as Detective Vogel (with a secret passion), Ryan Simpkins (sister of Ty) as James’ somewhat reluctant sister, and Alexa Demie and Jorge Lendeborg Jr as the new friends who come to appreciate him for his perspective. Claire Danes is a misguided psychiatrist, Buck Bennett is a detective, Andy Samburg appears an acquaintance, and Kate Lyn Scheil is Arielle (and Nora).

The film can best be described as Funny-Sad, and a blend of ROOM (isolated and held captive), NAPOLEON DYNAMITE (a quirky dude), BEING THERE (an innocence that influences others), and ENCINO MAN (a guy being introduced to a new world). It has an emotional and heartfelt climax that is crowd-pleasing, and certainly deserves bonus points for not being a superhero movie, remake, sequel or reboot. Still, it leaves us wondering what direction this could have gone had the filmmakers remained true to the cause of embracing the weirdness.

watch the trailer:

 

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Posted by David Ferguson

THE GLASS CASTLE (2017)

August 10, 2017

 Greetings again from the darkness. We all have our stories. The stories that make up our life. Some of us dwell on the “bad” things, while others remember only the good times. A few even romanticize the past, which could also be termed embellishment. Where exactly on this scale that Jeannette Walls’ story falls is debatable, but the facts are that her life story is the foundation for a best-selling book and now a high-profile movie.

Ms. Walls’ memoir describes her unconventional childhood with bohemian parents who cared more for freedom and independence than for feeding their kids. Writer/Director Destin Daniel Cretton (a ‘must-follow’ filmmaker after his powerful 2013 indie gem SHORT TERM 12) chose this as his next project, co-wrote the screenplay with Andrew Lanham, and wisely opted to work again with Brie Larson, who stars as the oldest Jeannette (from late teens through adult).

The film bounces around in time from Jeannette’s childhood in the 1960’s and 1970’s to her time as a New York gossip columnist in 1989. The timeline isn’t all that bounces, as we watch this family of six, seemingly always on the run, ricochet across America with all their belongings strapped to the top of the battered station wagon – usually on the run from creditors or following the latest dream from Rex (Woody Harrelson).

Rex is the type of guy who rants against most everything that makes up what we know as society. He can’t (or won’t) hold a job and fills his trusting kids’ heads with hopes and dreams of a better tomorrow – going as far as drawing up plans and specs for the off-the-grid fantasy home referenced in the title. Rex then spends what little money the dirt poor family has on drinking benders which cause him to become a nasty, abusive threat.

Rex’s wife Rose (Naomi Watts) is a free-spirited artist who somehow possesses even fewer parental instincts than her husband. Although she could be labeled an enabler of his abusive ways, she might actually be the more interesting of the two, even if the story (and Jeannette) focuses much more on Rex. The best scene in the movie is when mother and grown daughter share a restaurant booth, and the two worlds collide.

Of course the real story here is how Jeanette managed to rise above this less-than-desirable childhood and achieve her own form of freedom as a writer. The stark contrast between the squalor of her West Virginia shack and the million dollar apartment she later shares with her fiancé (Max Greenfield) makes this the ultimate depiction of the American Dream – pulling yourself up by your bootstraps (even when you don’t have boots).

The acting is stellar throughout. Mr. Harrelson could garner Oscar attention as he manages to capture both the dreamer and failure that was Rex. Ms. Watts maximizes her underwritten role and turns Rose into someone we believe we know and (at least partially) understand. Ms. Larson embodies both the desperation of a teenager whose environment forced her to be wise beyond her years, and the iciness of a grown-up trying so hard to leave the past behind. In just a few scenes, Robin Bartlett manages to create a memorable and horrific grandmother – one whose actions explain a great deal. The most remarkable performance of all, however, belongs to Ella Anderson (the only good thing about THE BOSS). She captures our hearts as the adolescent Jeannette – the closest thing to a parent this family had.

There are some similarities between this film and last year’s expertly crafted CAPTAIN FANTASTIC. In fact, two of the young actors (Shree Crooks, Charlie Shotwell) from that film also appear in THE GLASS CASTLE. The biggest difference being that Viggo Mortensen’s character could be considered to have an over-parenting approach, while Woody Harrelson’s Rex never over-did anything, except drink and dream.

The movie probably has a bit too much Hollywood gloss and sheen to adequately portray the hardships of a large family living in poverty, though the top notch acting keeps us glued to the screen. By the end, we can’t help but wonder if some of Ms. Walls’ romanticism of her father and past might be due as much to her immense writing talent as to her childhood challenges.

watch the trailer:

 

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Posted by David Ferguson

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