JULIAN SCHNABEL: A PERSONAL PROFILE (2017, doc)

May 11, 2017

 Greetings again from the darkness. Do you believe in destiny? Whether you do or you don’t, it’s difficult to argue that Julian Schnabel was born to be anything other than an artist. Director Pappi Corsicato’s final cut is as much a tribute to an artist he obviously admires as it is a biography of the pajama wearing cultural influencer.

Schnabel was raised in far south Texas, but according to his sister, a difficult child birth in Brooklyn set the stage for his being “special”. In fact, director Corsicato interviews Schnabel’s siblings, 5 of his kids, his 2 ex-wives, art experts and friends, and celebrity admirers like Willem Dafoe, Al Pacino and Bono. These interviews are blended with home movies, personal photographs, and clips of Schnabel working, playing and talking about his work and life.

The constant praise for Schnabel is only periodically sprinkled with minor nicks that are apparent should one read between the lines, but this is meant to be documented proof of a career that exploded after a 1979 show at the Mary Boone Gallery. We hear Schnabel described as a “controversial artist” with no boundaries who sees beauty in places most of us don’t notice.

Even though we get to see quite a few of Schnabel’s paintings, a significant portion of the film is devoted to Schnabel’s work as filmmaker. Special attention is given to his first film Basquiat (bringing an artist’s perspective to the story of the artist), as well as Before Night Falls, and the Oscar nominated The Diving Bell and the Butterfly. Being such a movie fan, I’ve always admired Schnabel’s unusual film work as much as his paintings. It’s so difficult to stand out in either field, but he manages to make a statement in both. He draws a few chuckles when he states that he “had a day job” that allowed him to make movies.

It’s unusual for the subject of a documentary to be listed as Executive Producer on that film, but Schnabel describes himself as having “blind faith” in what he does and his entire professional life has been on his own terms. Director Corsicato uses music quite effectively, though this private portrait never digs too deeply and certainly never comes close to answering what drives an artist – even one who can quote The Godfather.

watch the trailer:

 

 

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Posted by David Ferguson

WHISKY GALORE (2017)

May 11, 2017

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

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

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

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

watch the trailer:

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Posted by David Ferguson

CHUCK (2017)

May 9, 2017

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

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

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

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

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

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

watch the trailer:

 

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Posted by David Ferguson

WITCH-HUNT (2017)

May 9, 2017

USA Film Festival 2017

 Greetings again from the darkness. There may not be a mass-market audience for ultra low-budget supernatural horror-thriller-comedies, but that doesn’t stop writer/director Philip Schaeffer and his cast of seven actresses from delivering a rollicking good time.

Best viewed late at night and preferably with a group of friends smart enough to enjoy a bit of satire, and not so pseudo-intellectual as to be unable to cut loose and possibly even create a new drinking game (not that such uncultured and unruly behavior would be encouraged). In fact, just keeping up with one of the character’s propensity to shift from red to white wine and back again requires somewhat of a clear head and attention span.

Five ladies gather in clock-filled home to play a board game that could be named “Who is the Witch?” The clocks don’t really matter, but do make for interesting set pieces and might also play into someone’s unconventional drinking game. The birthday girl (Robyn Purcay) who receives the game as a gift is very excited to play, while the emotions of the others range from ‘OK, I’ll play along’ to utter disdain (from the striking Abby Eiland).

The movie is divided into the different rounds played during the game … with each of the five participants getting special attention during a particular round. Additionally, the story has an external structure thanks to a late night strategy session at a book publishing firm. Of course, the story doesn’t really matter. What matters is the periodic creepiness and abundance of humor stemming from the conversations of wine-guzzling, long-time friends who share a clouded and traumatic childhood memory.

Other than the aforementioned Ms. Eiland and Ms. Purcay, the other actresses involved here are Melina Chadbourne, Erin Curtis, Lillian Olive, Suzanne Blunk and Trisha Miller. Each brings their own style to the fun, and special mention goes to cinematographer Olivia Kuan, whose camera work provides the necessary claustrophobia and unease necessary to keep viewers guessing.

 

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Posted by David Ferguson

NORMAN (2017)

May 4, 2017

 Greetings again from the darkness. With the subtitle, ‘The Moderate Rise and Rapid Fall of a New York Fixer’, writer/director Joseph Cedar removes one layer of the mystery that otherwise envelops the lead character Norman Oppenheimer. We find ourselves somewhat sympathetic for the obviously lonely guy, while also accepting this as Cedar’s commentary on today’s real world obsession with networking. “It’s who you know” is the call of the business world, and few stake claim to more contacts that Norman.

Richard Gere stars as Norman, and we immediately notice his usual on screen air of superiority is missing, replaced instead by a fast-talking sense of desperation … in fact, Norman reeks of desperation. Cedar divides the film into four Acts: A Foot in the Door, The Right Horse, The Anonymous Donor, and The Price of Peace. These acts begin with Norman stalking/meeting an Israeli Deputy Minister after a conference, buying him an $1100 pair of Lanvin shoes, and then tracking their relationship over the next few years as Micha Eshel (Lior Ashkenazi) ultimately becomes Prime Minister of Israel, and is embroiled in a scandal that directly impacts Norman.

It’s a terrific script with exceptional performances from both Mr. Gere and Mr. Ashkenazi (who also starred in director Cedar’s excellent Oscar nominated Footnote, 2011). Their awkward initial connection seems grounded in reality – despite the expensive gift. These are two men who dream big, but go about things in quite different ways. Other terrific actors show up throughout, including: Michael Sheen as Norman’s lawyer nephew; Steve Buscemi as a Rabbi; Dan Stevens, Harris Yulin and Josh Charles as businessmen; Isaach De Bankole as the shoe salesman; Hank Azaria as Norman’s mirror-image from the streets; and Charlotte Gainsbourg as a disconcertingly quiet and calm Israeli investigator.

There are many interesting elements in the film – some are small details, while others are quite impactful. Examples of these include the whimsical music from Japanese composer Jun Miyake, Norman’s questionable diet, the emphasis on “Unnamed US businessman”, the twist on a simple question “What do you need?”, the recurring shot of the shoes, and the creative use of split screen montage during multiple phone calls.

Most hustlers don’t generate a great deal of success, and Norman is often an annoying, even an unwelcome presence. However, it seems clear he is well-intentioned, and despite a proclivity for fabricating facts, his sincerity makes him a somewhat sympathetic figure … one that by the film’s end, has accomplished quite a few favors that should have delivered the recognition and influence he so craved. Norman’s “art of the deal” may not be textbook, but it makes for entertaining viewing.

watch the trailer:

 

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Posted by David Ferguson

THE DINNER (2017)

May 4, 2017

 Greetings again from the darkness. Oscar nominated writer/director Oren Moverman (The Messenger, 2009) takes the source novel from Herman Koch and turns it into a checklist of items and people to detest. Rather than a cynical look at humanity, we endure a shrill commentary on white privilege, entitlement, misguided parenting, social media for millennials, and mental illness. If somehow the world and local news doesn’t feature quite enough ugliness for you, then Mr. Moverman’s movie should fill the gap – making Roman Polanski’s Carnage (2011) look like a light-hearted comedy by comparison. It’s definitely no Who’s Afraid of Virginia Woolf or even My Dinner with Andre.

Dinner for four at an over-the-top ostentatious restaurant is the setting, and aggravation is the sauce for each course – labeled on screen for our convenience as Aperitif, Appetizer, Main course, Cheese, Dessert, and Digestif. Richard Gere is Congressman Stan Lohman, a candidate for Governor and a slick politician in the midst of a battle to get the necessary votes for approval on his sponsored bill. He is joined by his second (yes it matters) and much younger wife Katelynn, played by Rebecca Hall. Rounding out the foursome is Stan’s estranged (and strange) brother Paul (Steve Coogan) and Paul’s wife Claire (Laura Linney), who is every bit as off-center as her husband.

These four have no real interest in sharing dinner time conversation, but the horrific actions of their teenage sons have brought them together for a strategy session. Michael (Charlie Plummer) is Paul and Claire’s son, while Rick (Seamus Davey-Fitzpatrick) is Stan’s son with first wife Chole Sevigny. Video of their despicable and unforgivable act has been posted on YouTube, and now the four “adults” are convening to decide the best step for these “good kids” who just need help getting back on track. At least that’s what Claire would have us believe. In fact, if satire exists at all in this script, it surely would be in the fact that the politician is the only one to exhibit any semblance of moral fortitude in this situation. We even hear the incident described as “an unfortunate chain of events” … further emphasizing the film’s theme that EVERYTHING is political these days.

The film itself is often too-congested and convoluted. The flashbacks are messy and unnecessary, and the dialogue ill-timed and seemingly written for shock value rather than with situational purpose. No one does droll like Steve Coogan, yet his character spends the film sermonizing (with his running narration of a Gettysburg analogy) and showing no signs of humanity. The big reveal with his character is borderline shameless and insulting. Somehow we are left to ponder who shows the worst judgment – the teenagers or the adults. Evidently we are supposed to feel the moral outrage that all of society is now driven by politics, and in politics, “someone always gets hurt”. Personally, if I have outrage, it is directed at a manipulative film that stole valuable time from me.

watch the trailer:

 

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Posted by David Ferguson

IN SEARCH OF FELLINI (2017)

April 30, 2017

USA Film Festival 2017

 Greetings again from the darkness. Even In this age of “helicopter parenting” it’s disconcerting to see such flagrant over-protectiveness as that perpetuated by Maria Bello’s character on her daughter Lucy. For film lovers, it’s even more disheartening to see how the mother uses “happy ending” movies such as It’s a Wonderful Life to create the social bubble that results in 20 year old Lucy having never been kissed, and having no concept of reality (outside of what she has seen in movies).

Contrary to what that set-up would have us believe, director Taron Lexton’s film is actually less Coming-of-Age and more ‘Welcome to the Universe’, and Lucy’s journey of self-discovery is quite enjoyable to behold. Co-written by Nancy Cartwright and Peter Kjenaas, it’s the ‘based on a true story’ of Ms. Cartwright’s own personal journey prior to her nearly 30 year run as the voice of Bart Simpson.

Lucy (Ksenia Solo, Black Swan) is off on an interview-gone-wrong when she stumbles into a Fellini film festival. She is immediately entranced by the obscure imagery and often less-than-happy endings. In fact, she connects with the films in such a manner that she is inspired to travel to Italy and meet with the Maestro himself. Ms. Cartwright’s real life motivation stemmed from watching Fellini’s La Strada (1954), and she instantly saw herself in Gelsomina (played by the spirited Giuletta Masina).

Her travels through Italy are filled with ups and downs, and Lucy crosses paths with good people and bad. It’s her first true life experience and we are along for the ride. The structure of the story is such that as Lucy is discovering life, her mother (Bello) is back home in Ohio slowly losing her battle with cancer while being nursed by her straight-talking sister (Mary Lynn Rajskub, Chloe from “24”). Such contrasting elements would fit right in to a Fellini film.

At some point, most movie lovers experience the awakening that occurs when graduating from pleasant, feel good family movies to more esoteric and philosophical cinema. Fortunately, this awakening typically occurs before age 20 and does not require an international trip or dying mother to allow us to grow as a person. Ms. Cartwright’s willingness to share her story makes for interesting filmmaking and one of the more unusual coming-of-age (or Welcome to the Universe) twists that we’ve seen on screen.

**I couldn’t find a trailer to post

 

 

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Posted by David Ferguson

UNLEASHED (2017)

April 29, 2017

USA Film Festival 2017

 Greetings again from the darkness. Quirky is an overused word to describe far too many offbeat independent movies and unconventional actors. However, sometimes no better word exists, and that’s exactly the situation with writer/director Finn Taylor’s latest. A full moon cosmic event results in a collision between astronomy and astrology, and just like that … Emma’s faithful pet dog and cat are transformed into hunky human boyfriend material.

Adding to the high level of quirk (in the role of Emma) is the extraordinarily multi-talented Kate Micucci (“Garfunkel and Oates”) – an actress, comedian, writer, musician and artist. Plus, she is just so darn likeable and nice! In fact, “nice” may be the only challenger to quirky in how best to describe this film. Sure it’s cute and sweet and delightful, but above all, it’s a nice movie whose nice characters will leave you with a nice feeling.

Steve Howey and Justin Chatwin (both from “Shameless”) are spot on in their portrayals of Sam and Diego – the humanized dog and cat, respectively. Howey and his bleach blonde hair and boundless energy capture the devoted pooch, while Chatwin is downright hilarious with his feline tendencies that attract a public following. Given much leeway with the roles, we never lose sight of their original connection to love-lost Emma.

While the premise may offend some (though nothing else in the film will), the humor stems from this being a woman’s fantasy. Her beloved pets, with full knowledge of her likes and dislikes, and with blind commitment, take on beautiful male human form without losing the lovable pet traits. What more could a women-done-wrong desire? It’s also quite a scathing commentary on modern day dating, with the ne’er-do-well Luke (Josh Brener, “Silicon Valley”) contrasted to the too-nice Carl (Sean Astin). Hana Mae Lee (Pitch Perfect) is Emma’s spunky best bud and co-worker, and Illeana Douglas plays their boss.

There are some terrific Bay Area film locations utilized, and the music is so perfectly matched that we find ourselves saying “of course” as each new song pops up. Filmmaker Taylor certainly could have gone a bit harsher with the commentary and humor, but let’s enjoy this quirk for what it is … a really nice time.

watch the trailer:

http://themovieunleashed.com/?page_id=12

 

 

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Posted by David Ferguson

VOICE FROM THE STONE (2017)

April 29, 2017

USA FILM FESTIVAL 2017

 Greetings again from the darkness. A painful death bed scene and a teary-eyed child saying goodbye to their beloved caregiver kick off this film that immediately downshifts to a deliberate pace after those two emotional peaks. The first feature from director Eric Howell is adapted by Andrew Shaw from Silvio Raffo’s novel, and it excels in delivering atmosphere and visual unease created by the stunning setting of a fogged-cloaked Tuscan castle that is itself a key character in the film.

Emilia Clarke (“Game of Thrones”), and those expressive eyebrows of hers, stars as Verena, a rehabilitation nurse who specializes in helping traumatized children. Verena is spunky and confident as she arrives at the Gothic-esque home of artist/sculptor Klaus (Marton Csokas) and his son Jakob (Edward Dring). It’s been more than 7 months since the death of his mother (Caterina Murino, Solange in Casino Royale), and also since young Jakob last spoke even a single word. Verena expects to succeed where other nurses have failed.

1950’s Tuscany is beautiful despite, or maybe because of, the dreary and minimal natural lighting and the mysterious elements of the ancient castle and surrounding forest and stone quarry. It’s also a bit creepy and that allows the measured pace of the story to work – it comes across as we are going through the slow process with Jakob and Verena. Well, it works until it doesn’t. The character shifts for Verena and Klaus occur too abruptly – almost as if pages in the script were skipped. Both transformations seem out of place with the film and are jarring to watch … and not jarring in the way that we expect from a suspense thriller.

Most won’t be surprised at where the story goes, but just in case, no spoilers will be discussed here. It should be enough to state that the look and feel of this one should appeal to those who enjoyed such films as The Others, Rebecca, The Sixth Sense, Crimson Peak, and the stories of Edgar Allan Poe. The execution of the story might not be at that level, but the atmosphere and mood certainly are. Oversized sculptures, life-sized portraits, an untouched death bed, and even a grand piano allow for more texture than any cheap jump-scares.

Gothic, romantic, supernatural suspense thrillers are pretty tough to pull off, but even getting close allows for some cinematic viewing pleasure. As an added bonus, the lovely score from Michael Wandmacher never screams at us, and Amy Lee (Evanescence) delivers a beautiful and fitting song “Speak to Me” as the film ends.

watch the trailer:

 

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Posted by David Ferguson

JEREMIAH TOWER: THE LAST MAGNIFICENT (2017, doc)

April 27, 2017

 Greetings again from the darkness. Maybe the line between megalomania and genius doesn’t exist, or a more likely explanation has the two as mutually exclusive. Director Lydia Tenaglia (an Emmy winner) tackles the profile of ultra-fascinating Jeremiah Tower, one of, if not the first U.S. celebrity chef. Her approach seems to carom between idol worship, psychoanalysis and mythology, often creating a rudderless feeling for viewers – viewers who remain captivated by the man and the story.

Mr. Tower performs voiceover during much of the segment on his childhood, and one of his first lines, “I have to stay away from human beings because somehow I’m not one”, sets the stage for a childhood that explains much. His wealthy parents took a hands-off approach, though young Jeremiah (when not in elite boarding school) often accompanied them on international travels, luxurious Ocean cruises (including the Queen Mary), and first class resorts and hotels. The solitude of these trips invariably found the young boy in the kitchen with food, his favorite travel companion. An evening on a beach with a stranger who is grilling a barracuda provides a particularly harrowing memory, and clearly helps us understand how that 6 year old grew to be an adult who never found a humanistic rhythm with others.

Anthony Bourdain is a producer on the film and also provides commentary throughout. He states “We should know who changed the world”. Specifically he is referring to the pioneers of food, and he puts Jeremiah Tower as high on the pedestal as any. Bourdain, other chefs, Tower’s Harvard friends, and even food critics chime in on the impact of Tower joining Alice Waters at her Berkeley Chez Panisse in 1972. The idealism of the times and the people created a cultural clash that resulted in what Martha Stewart termed New American cuisine, or perhaps more accurately, California cuisine. Some terrific photos and clips of those early days really add an element of depth to an era which is typically lacking in such documentation.

After the split between Ms. Waters and Mr. Tower, his explosion into the global food world occurred with his Stars restaurant in San Francisco in the mid-1980’s. This seemed to be the meld of Tower’s personality, his creative menu ideas, and his quest for the perfect eating establishment, and soon became known worldwide as a must-visit for traveling foodies.

It’s at this point where the timeline becomes muddled – seemingly on purpose by the filmmaker – in an effort to add mystery to what otherwise would be expected erratic behavior from an artist who just can’t be satisfied. Tower’s self-imposed exile leaves his friends befuddled, and we get interspersed shots of him climbing pyramids and cooking in his Merida apartment. Philosophical meanderings are used to fill the gaps. “What are my great expectations?” How could such a genius be expected to live with “the horror of mediocrity”? On more than one occasion, we hear Tower’s life philosophy stated as “I long for the crown, but know the guillotine is close”. This would all seem overly dramatic if it didn’t so perfectly fit the profile of the man. The incomprehensible “comeback” at NYC’s Tavern on the Green after 15 years away, does allow us to more closely view his endless pursuit of perfection, and the price paid for a life of loneliness and ego. True innovators and true genius are often painful to look at once the curtain is pulled back.

watch the trailer:

 

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Posted by David Ferguson

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