HELL ON EARTH: THE FALL OF SYRIA AND THE RISE OF ISIS (2017)

June 6, 2017

 Greetings again from the darkness. Co-directors Sebastian Junger and Nick Quested previously collaborated on a trilogy focusing on the Afghanistan War, including the Oscar nominated Restrepo (2010). Mr. Junger is also a best-selling author and Mr. Quested (a producer) is an Emmy winner. This time out they focus on the Syrian War, the plight of refugees, and the role of West in creating ISIS.

This is a National Geographic sponsored documentary, and though it’s a bit overly politicized, it’s also an extremely well made, detailed, and informative overview for those looking to catch up on the past seven years in Syria. Some of the front line video is stunning and affecting in its clarity of atrocities. In addition to the clips, pointed interviews with a mixture of types provide information and insight that we might otherwise misinterpret or remain oblivious to. Activists, journalists, refugees, politicians (including the recently dismissed National Security Adviser Michael Flynn) and soldiers all offer perspective on a situation that is difficult for most of us to comprehend.

Understanding the political strategy of President Bashar Al-Assad clarifies what to outsiders made little sense. Rather than allow the reform movement to gain traction, he instigated and encouraged the Civil War within his country – with the plan to have the military crush the uprising and gain power. The decision is difficult to swallow … the leader of a country choosing to slaughter his own people. It also led to what’s known as the Free Syrian Army – a confluence of various groups of citizen militias.

Ensuring this plays like a real life horror film, we see ISIS recruitment videos. These are brutally explicit propaganda with extraordinarily high production value. Beheadings, public hangings and other torture are presented in a manner designed to give hope and power to those who have little hope. It’s terrifying.

We follow the story of brothers Radwan and Marwan and their families as they struggle to survive and escape. It seems to be a call to action for those opposed to accepting Syrian refugees, especially when combined with the filmmakers’ finger-pointing at the U.S. for political decisions that (they argue) led to the strengthening of ISIS. There is also an emphasis on President Obama’s infamous “red line” statement, on which he reneged on his promise to act if chemical weapons were used.

It is fascinating to hear a portion of an interview with Anna Erelle, author of “In the Skin of a Jihadist”. She’s a journalist who risked her life going undercover, and probably deserves her own documentary – though it’s doubtful she wishes to lose what’s left of her privacy. It’s said that a radical movement is formed out of desperation, and with half of the Syrian population displaced, and more than 400,000 dead, desperation seems an understatement. The film is probably the best yet in its depiction of what has happened, but watch out for those puddles of finger-pointing.

 

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Posted by David Ferguson

CHURCHILL (2017)

June 4, 2017

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

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

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

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

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

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

watch the trailer:

 

 

 

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Posted by David Ferguson

BAND AID (2017)

June 1, 2017

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

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

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

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

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

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

watch the trailer:

 

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Posted by David Ferguson

PAST LIFE (2017)

June 1, 2017

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

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

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

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

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

watch the trailer:

 

 

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Posted by David Ferguson

WINE TASTING (2017)

June 1, 2017

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

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

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

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

 

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Posted by David Ferguson

WAKEFIELD (2017)

May 18, 2017

Dallas International Film Festival 2017

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

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

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

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

watch the trailer:

 

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Posted by David Ferguson

A QUIET PASSION (2017)

May 18, 2017

Dallas International Film Festival 2017

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

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

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

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

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

watch the trailer:

 

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Posted by David Ferguson

FIGHT FOR SPACE (2017, doc)

May 17, 2017

 Greetings again from the darkness. Space … the final frontier. Or is it just another political football? Director Paul Hildebrandt examines the space program from all angles: past, present, and future. He enlists experts such as Astronauts Jim Lovell and Story Musgrave, physicist and author Michio Kaku, Astrophysicist Neil deGrasse Tyson, Norman Augustine (Chairman of the Review of the United States Human Space Flights Committee), and numerous politicians, journalists, and former NASA staffers. Passionate opinions and perspectives fill the run time, as do frustrations and hopes.

In 1961, President John F Kennedy pledged that NASA and the United States would send a man to the moon (and bring him back safely) by the end of the decade. On July 20, 1969 the Apollo 11 crew landed on the moon, and four days later returned safely to earth. The central question being asked by the film is “Why did we stop?”

The Space Race shifted into high gear thanks to Russia’s Sputnik and Yuri Gagarin. It was also responsible for inspiring an entire generation to pursue careers in Science, Technology, and Engineering. Hindsight (and those being interviewed here) tells us that, rather than a visionary scientific research platform, the U.S. space program was actually a “Crisis Project” driven by ego and politics. How else do we answer the current generation of kids when they ask, “Why aren’t we there now?”

Viewing the space program as a marketing campaign to the American public, Mr. Tyson is especially outspoken when he states that the economic and cultural benefits of a true scientific program are beyond argument. GPS and the internet are but two of the transformative developments courtesy of the space program, and proof enough that a more scientific approach could lead to even more discoveries. Instead, it’s pointed out that no scientists were included in the Apollo missions until Apollo 17, the final Apollo mission to the moon with astronauts. This occurred after the significant budget reduction in 1970 that cancelled a couple of Apollo missions, setting the stage for the program to end.

Discussions and criticisms of the Space Shuttle program (described as driving trucks in circles), the Space Station (a $150 billion program with no purpose), the Mars Direct proposal, and the Constellation Program (started by George W, cancelled under Obama), are each given attention and insight. Perhaps it’s all best described by Jim Lovell who states the Russians are the tortoise in the race, while the U.S. simply gave up.

Very few events match the breathtaking majesty of a rocket lift-off. The beauty and power of this engineering marvel generate the wonderment of exploration and discovery. Sadly, most of the triumphs and tragedies of the U.S. space program are little more than entries in a textbook (or website) for today’s kids. The program lacks leadership and vision, and the case can be made that the only hope is with the private sector (such as Elon Musk). The final 10-12 minutes of the film is really a pep talk (Sales pitch? Propaganda?) for an actual scientific space program. This time, let’s hope that rather than political reasons, we go because it’s there!

watch the trailer:

 

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Posted by David Ferguson

I AM HEATH LEDGER (2017, doc)

May 16, 2017

 Greetings again from the darkness. Lao Tzu wrote “The flame that burns twice as bright, burns half as long”. Though the math might be a bit off, that phrase aptly describes the too-brief life and career of shooting star Heath Ledger. As a 20 year old from Australia, his talent seemed to leap from the screen in 1999’s 10 Things I Hate About You. As his popularity soared, so did his commitment to avoid being typecast as the charming and handsome love interest by the desperate directors of every upcoming rom-com project.

It seems inconceivable (that word means what you think it means) that Mr. Ledger only made 15 more movies before an overdose killed him in 2008 (at age 28). Adrian Buiterhuis and Derik Murray co-direct this portrait of the man, the artist, the friend, the father. We see the young Heath, nearly always with camera in hand, flouncing about with his buddies as he seeks his next adventure. The home videos and photos fill the screen with luminosity that we recognize from his movies … the camera loved his face, and he seemed to love everything about filmmaking.

Interviews, often the bane of biographical documentaries, provide a real sense of the admiration and love that Ledger attracted. His father, mother, sister, childhood Aussie friends, agent Steve Alexander, former lover Naomi Watts, and close friend Ben Harper pay tribute not just to the star who burned out too soon, but also the warm-hearted man they all connected with.

The film walks us through some of his key movies: his chance to work with his acting idol Mel Gibson in The Patriot, A Knight’s Tale, his devastating performance in Monster’s Ball, The Four Feathers, Ned Kelly, reminiscing with Catherine Hardwicke on Lords of Dogstown, his stunning turn in Brokeback Mountain, and his final movie The Imaginarium of Doctor Parnassus with his beloved director Terry Gilliam. Of course, there is also a full segment on his most famous (and his own personal favorite) role as The Joker (a guy with a plan) in The Dark Knight. The role not only won Ledger a posthumous Oscar, it became the most talked about film performance in years.

Even more interesting than the recollections from the various movie sets are the bits and pieces we get of Ledger as guy sharing the journey with his buddies, approaching master status as a chess player, as an artist dedicated to his craft, or as a photographer honing his style (in music videos) in what surely would have been an intriguing path as a director. Director Ang Lee brings us closer to understanding what we have missed out on in regards to Ledger as an artist, and with actress Michelle Williams, the mother of his daughter Matilda, choosing not to participate in the film, we still have the distance between fan and man that allows for due respect.

The documentary premieres May 17, 2017 on Spike TV.

watch the trailer:

 

 

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Posted by David Ferguson

THE WALL (2017)

May 11, 2017

 Greetings again from the darkness. When a director’s filmography includes “big” action movies like Edge of Tomorrow, Mr. & Mrs. Smith, and The Bourne Identity (the original), the last thing we expect is a stripped-down war movie whose camera focuses on a single character for most of the run time. Director Doug Liman certainly understands how to use the camera in creating tension and stress, yet while he and writer Dwain Worrell seem so intent on proving the confusion and futility of war, they seem to forget that a thriller needs either a hero to cheer or a villain to jeer.

It’s late 2007, and the war is winding down as rebuilding efforts are underway. Hulking Staff Sergeant Matthews (John Cena) and his fellow soldier Isaac (Aaron Taylor-Johnson) have been perched and camouflaged on the side a hill for more than 20 hours as they carry out reconnaissance on the site of an under-construction oil pipeline. All they have seen is the remains of a massacre – 8 bodies with no signs of life. Peering through his malfunctioning scope that once belonged to a now-dead friend, Isaac (known as “Ize” – get it?) and his training thinks something doesn’t seem right. When Matthews deems the site safe, he heads down to check it out. Of course, all heck breaks out and soon enough, an injured Isaac takes shelter behind a teetering stone wall. It turns out a sniper, more patient than the American soldiers, had been biding time for the moment.

The first eight bodies are construction contractors and a security detail … none of which matters to the sniper. The hook here is that the sniper hacks into Isaac’s radio and seemingly wants to chat it up, rather than finish him off. We never see the sniper, and neither do Matthews or Isaac … but we do hear him plenty. Laith Nakli voices Juba – known to American soldiers as the Angel of Death, responsible for dozens of US casualties. The film spirals into a psychological game of chess – or, more fittingly, the torture of Isaac. This isn’t the war we’ve come to expect in movies. Isaac’s situation seems hopeless, and banter with the man responsible never strikes him as a worthwhile pursuit.

The biggest issue here is that Juba seems the most interesting character, and not only are we never provided a way to connect with/hate him, we don’t even get enough backstory to bond with Isaac. Plenty of obstacles are thrown at Isaac: blowing sand, lack of drinking water, skittles for sustenance, blazing sun/heat, radio issues, and a brutally painful knee wound courtesy of Juba. The success of the movie depends on two things: Aaron Taylor-Johnson selling us on Isaac’s predicament, and the radio dialogue between he and Juba. The former is fine, but the latter falls short.

Better sniper movies include American Sniper and Enemy at the Gates, while more effective (mostly) one-character thrillers include Locke, Buried, and 127 Hours. The film makes excellent use of sound, but the little jabs at American ideals grows old quickly (such as asking who is the real terrorist). A different approach to a familiar topic deserves a chance, but while Juba only misses on purpose, the efforts of Mr. Liman and Mr. Worrell miss the mark by not engaging the viewer with the character(s).

watch the trailer:

 

 

 

Leave a Comment » | Thriller, War | Tagged: , , , , | Permalink
Posted by David Ferguson

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