DANGER CLOSE (2017, doc)

April 27, 2017

 Greetings again from the darkness. This is the third in a series of unparalleled looks at war from the front line courtesy of co-directors Christian Tureaud and David Salzberg. Their 2014 documentary The Hornet’s Nest followed war correspondent Mike Boettcher and his son as they covered the most violent era of the Afghanistan War, and 2015’s Citizen Soldier went inner circle with the Army National Guard’s 45th Infantry Combat team in Afghanistan. This time the focus is on the work of war correspondent Alex Quade, a female reporter (yes, her gender is worth noting) who documented missions carried out by Special Forces teams.

Ms. Quade’s interviews with Wendy R Anderson provide structure to the film and a chance for viewers to catch their breath in between combat videos. The interviews allow us to get a better feel for Ms. Quade’s personality and motivation. She states that after being around soldiers in such stressful and life-threatening times, she believes “I have to tell their stories”. These are stories we aren’t usually privy to on network news reports. These situations go beyond dangerous and require courage most of us can’t imagine.

There is some incredible early footage, much shot with night vision, which chronicles a large scale air assault ending in tragedy. The helicopters are being fired upon from ground-based weapons, and one is shot down. We then see how fast the rescue and recovery mission is implemented and how there is no hesitation in going in.

Ms. Quade makes this the personal story for one soldier – Rob Pirelli. She interviews his fellow soldiers, and even visits with Rob’s parents at their home. The film begins in 2007 and goes into 2008 where she tracks the progress of Combat Outpost Pirelli – a home for a Special Forces team.

This is outstanding and eye-opening journalism, and forces viewers to confront the atrocities and always present danger of war. There are times during the interviews where Alex Quade comes off a bit arrogant, but we are reminded of a quote that at times has been attributed to Muhammad Ali, Bear Bryant, and Dizzy Dean … “It ain’t bragging if …” Ms. Quade deserves much respect for her tenacity and bravery for doing what’s necessary to tell these stories.

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Posted by David Ferguson

EARTHxFilm 2017 and CHASING CORAL

April 21, 2017

EARTHxFilm Opening Night – Chasing Coral

 The official Opening Night of the inaugural EARTHxFilm event proved to be an evening of hope buoyed by passion, optimism and commitment. Scheduled in conjunction with the seventh annual EARTH Day Texas, the reception, introductions, and opening film Chasing Coral were held at Dallas Music Hall at Fair Park.

EARTHxFilm President Michael Cain, one of the most influential forces on the Dallas film scene for years, expressed that this is a “gift to the city” from philanthropist and businessman Trammell Crow, and that many worked diligently to bring it all together – including Ryan Brown and Dennis Bishop. Notably, Mr. Cain acknowledged the support of both The Dallas International Festival and Dallas Video Fest. This type of support and collaboration is not typical of all cities, but DIFF’s Lee Papert and James Faust, and DVF’s Bart Weiss are all extraordinary ambassadors for the Dallas film industry, and we are quite fortunate to have them working in our city.

Filmmakers in attendance were recognized, and Mr. Cain said the group ranged from 12 year old first-timers to Oscar winners. His stated wish was for everyone in the audience to become EARTHxFilm missionaries and encourage others to join in. Education is a key focus of the organization, and we were shown about 15 one-minute films created around the idea of nature, conservation, environmentalism, etc. It was a very nice way to kick off the evening and prepare us for the featured screening of Chasing Coral.

CHASING CORAL

 Whether you have spent vacation time snorkeling, watched the National Geographic channel, or even paid a bit of attention during high school science class, you likely have some level of understanding of what a vital ecosystem coral reefs are to Ocean life. Director Jeff Orlowski has a track record of important environmental documentaries with his 2012 Chasing Ice. Both of these movies have been well received at Sundance and other film festivals, as well as by scientific experts.

Mr. Orlowski was contacted by underwater photographer Richard Vevers once the Vevers team recognized the accelerated breakdown of corals as the ocean water temperature rose slightly. The film takes us to such places as The Great Barrier Reef in Australia, the Florida Keys, American Somoa, Hawaii, Bermuda and the Bahamas. The obvious message is that concern exists around the globe, not just in one particular locale.

The film does an excellent job of defining and explaining the importance of coral, and once Zach Rago is introduced, the energy and passion jump significantly. A charming, self-described “coral nerd”, he is also an extremely knowledgeable and committed scientist dedicated to saving this ecosystem that he worships, and he understands the important role it plays to all life.

Little doubt exists that those involved fully believe carbon emissions are to blame for the warming waters resulting in coral bleaching and finally coral death. They also believe that by reducing said emissions, there is still time to prevent the total global coral destruction predicted for the next quarter century.

If the film has any misguided moments, it would be related to the screen time spent on the challenges and frustrations associated with underwater time-lapse photography, especially from a hardware standpoint. As viewers, we are far more interested in the coral endangerment and the photography shots that do exist … especially some of the stunning before/after looks as coral reefs are quickly destroyed.

A trip to the Coral Convention provides us a glimpse at how research and information is shared by those who are working on this and other environmental issues. With limited resources, it’s crucial that access to information is available to those who need it. Finally, the film leaves us with a reminder that forests, reefs, and other ecosystems are all vital to our lives; and while the current path is quite saddening, there is optimism that we have time to stop the damage if we act now.

For more information: EARTHxFilm.org EARTHDayTX.org

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Posted by David Ferguson

BORN IN CHINA (2017, doc)

April 20, 2017

 Greetings again from the darkness. You’d be hard-pressed to name or find anything cuter than a baby Panda, and the folks at Disneynature don’t hesitate in taking full advantage of our affinity for such fuzzy black and white cuddliness. Am I upset with them after watching this documentary? Only because they periodically cut away to a herd of antelope.

This is the next in a line of Disneynature films dating back to 2007 (Oceans, Bears, African Cats) that usually hit theaters in close proximity to Earth Day. This particular screening was also affiliated with the inaugural year of EARTHxFilm, a Dallas-based festival dedicated to all things nature, natural and earthy. Acclaimed Chinese director Chuan Lu and his photography crew take us into some stunning wilderness areas and parts of China that we rarely, if ever, get to see … all to witness intimate wildlife moments in shockingly close proximity.

If what comes to mind are those charming Disney animal features from the 1960’s – the ones that featured the great Rex Allen as narrator, you’re in for a surprise. Hey, I loved Charlie, the Lonesome Cougar and Yellowstone Cubs as much as the next kid, but rolling down a leaf-covered hill with a baby Panda that can’t walk yet is a whole new level of awe. Watching a mother Snow Leopard (what an incredible creature!) hunt so her two cubs can eat takes us to the highest standard of respect and admiration for this elusive species. Heck, even the rebellious Golden snub-nose Monkey teaches us about family and community within the monkey world … and how they don’t appreciate cold weather any more than I.

Director Lu provides a loose ancient Chinese structure to the film by explaining that every time a crane takes flight, it’s believed to be relocating the soul/spirit of one dying being into that of a newborn. The spectacle of watching these creatures majestically soar through the orange-sun soaked sky is merely one of the many breathtaking examples of spectacular photography during the film. We are bounced between mountains and forest and rocky vistas and are taken closer than you’ve ever been to a Great Panda scratching her baby, a Snow Leopard on the prowl, or a monkey rescuing his baby sister from an ominous winged predator. The only downside for grown-ups is the over-narration from John Krasinski, an admitted necessity for the youngsters in the audience who will appreciate the one-liners that go along with the cuteness. In Disney fashion, most of nature’s violence takes place off screen, but what we do see are parts of nature that will amaze.

Be sure to stay for the closing credits for a glimpse at how the photographers managed to get some of their shots – as well as how they sacrifice for their work.

watch the trailer:

 

 

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Posted by David Ferguson

THE LOST CITY OF Z (2017)

April 20, 2017

DALLAS INTERNATIONAL FILM FESTIVAL 2017

 Greetings again from the darkness. We aren’t likely to watch a more beautiful or expertly photographed film this year. Director James Gray’s (The Immigrant, We Own the Night) project looks and feels like a throwback to days of epic filmmaking, and cinematographer Darius Khandji (Se7en, Evita, The Immigrant) fills the screen with green and gold hues (similar to Out of Africa) that deliver both a sense of realism and a touch of romanticism. The minor quibble here is with the emphasis on the biographical rather than the more interesting and compelling and adventuresome expeditions to the “new” world.

Our true to life hero (and the film’s portrayal provides no other description) is military man and explorer Percy Fawcett played by Charlie Hunnam. Based on the book by David Grann, the film divides focus into three areas: the stuffy, poorly lit backrooms of London power moguls; the 1916 WWI front line where Fawcett proves his mettle; the jungles of Amazonia wherein lies Fawcett’s hope for glory and redemption. It’s the latter of these that are by far the most engaging, and also the segments that leave us pining for more detail.

The three Fawcett expeditions form the structure for the quite long run time (2 hours, 21 minutes). In 1906 the Royal Geographic Society enlisted Fawcett for a “mapping” journey to distinguish boundaries around Bolivia in what had become a commercially important area due to the black gold known as rubber. Fawcett was not just a manly-man, he was also obsessed with overcoming his “poor choice in ancestors” and gaining a position of status within society. Using his military training and personal mission, that first expedition (with help from a powerful character played by the great Franco Nero) was enough to light Fawcett’s lifelong fixation on proving the existence of Z (Zed) and the earlier advanced society.

Back home, Fawcett’s wife Nina (Sienna Miller) shows flashes of turn-of-the-century feminism, though lacking in judgment when she suggests a ridealong with her husband on his next expedition. Although the couple spends little time together, given the years-long trips, they do manage to produce a hefty brood of kids, the eldest played by Tom Holland (the new Spider-Man).

1912 brings the second Amazonia expedition, the one in which renowned Antarctic explorer James Murray (a snarly Angus Macfayden) joins Fawcett and his by now loyal and expert travel companion Henry Costin (a terrific Robert Pattison). The trip proceeds as one might expect when an ego-driven, unqualified yet wealthy passenger is along for only the glory. Murray’s history is well documented and here receives the treatment he earned.

It’s the third trip in 1925 that Fawcett makes with his son that will be his last, and the one that dealt the unanswered questions inspiring Mr. Grann to research and write his book. It’s also the segment of the film that leaves us wanting more details … more time in the jungle. With the overabundance of information and data available to us these days, the staggering courage and spirit of those willing to jump in a wooden canoe on unchartered waters and trek through lands with no known back story, offer more than enough foundation for compelling filmmaking. It’s this possibility of historical discovery that is the real story, not one man’s lust for medals and confirmation. More jungle could have elevated this from very good to monumental filmmaking.

watch the trailer:

 

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Posted by David Ferguson

TRUMAN (2017)

April 20, 2017

 Greetings again from the darkness. Is this a cancer movie? A dog movie? A buddy movie? Well, the answer is yes – at least somewhat – to all three. Writer/director Cesc Gay and co-writer Tomas Aragay offer up an unusually paced and uniquely focused film that is likely to strike a chord with many viewers, while leaving some others thinking, what’s the point? For those of us in that first group, it’s an absorbing ride-along with a not overly likeable character who is out to put his proverbial “affairs in order”.

Two exceedingly talented actors take the lead here and draw us right in. Ricardo Darin (terrific in The Secret in Their Eyes, 2009) is Julian, and Javier Camara (an Almodovar regular, so shuddersome in Talk to Her) is his long time friend Tomas. Knowing his friend is dying, Tomas hops on a plane back to Madrid, from his new life in Canada, in order to spend four days and yes, to say goodbye.

The surprise visit sends the two long-time buds on a kind of (mostly) inner-city “road trip”. Their daily outings include: a trip to the veterinarian so Julian can prepare his dog Truman (a non-puppy Bullmastiff) for the coming change; a doctor visit to convey the desire to cease treatment on the tumors; a bookstore to search for material on pet psychology; a diner where Julian confronts old friends – a lunch that provides significant insight into Julian’s mindset; an in-home visit to a potential pet adoption family; a direct chat proving ‘the show must go on’ with the owner (Jose Luis Gomez) of the theatre where Julian works as an actor; a spur of the moment flight to Amsterdam for lunch with Julian’s estranged son Nico and wife Sophie; and a meet on the street with Julian’s ex-wife. In between, there are exchanges with Julian’s cousin Paula (a very good Dolores Fonzi) who can’t hide her frustration despite offering unwavering support.

There are many wonderfully subtle moments that keep the story grounded and prevent anything approaching the typically over-dramatic movie that we have become so accustomed to. Death and comedy don’t tend to blend well, but there are some charming and even comical moments that sneak in … sometimes during the moments that Julian is expressing regret for things said or done, or not said or done. He attempts to make amends, but this isn’t about the profound moments – no, it’s about the small ones. When Julian mutters the brilliant line, “I used to be a romantic hero”, we know exactly what it means. This isn’t the usual tear-jerker, but it will likely tug at the heart strings, even as it touches on death on one’s own terms (a common cinematic theme these days).

watch the trailer:

 

 

 

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Posted by David Ferguson

FRANTZ (2017)

April 20, 2017

Dallas International Film Festival 2017

 Greetings again from the darkness. Director Francois Ozon won me over as a fan for life with his 2003 writing-mystery Swimming Pool. His latest stands in stark contrast to that gem, as there are no mind games for the viewer, other than those the characters play on each other. Actually, this is quite a straightforward story of romance, loss and hope; and it’s an example of expert filmmaking from a director in full control of story, setting, character and camera.

It’s 1919 in historic and ancient Quedlinburg, Germany. WWI has recently ended and the loss of her soldier fiancé is still so fresh for Anna (an excellent Paula Beer) that she makes daily treks to lay flowers on the grave of Frantz. She spots an unknown foreigner paying respects to Frantz, and since it’s a small town, the two are soon enough sitting together in the parlor of Frantz’ parents’ house where Anna lives. It’s an awkward encounter between a grief-stricken German family and a Frenchman paying respects to the family of a fallen “friend”.

That these folks are so quick to accept and encourage these recollections of Adrien (Pierre Niney) speaks loud and clear to human nature in times of grief – we desperately cling to any connection, positive memory, or new strand of information. Then again, Adrien’s perspective is every bit as interesting as that of the parents and Anna. He seeks forgiveness and inclusion, yet is unable to come clean on his motives and past.

More human nature is on display as we initially see how the Germans treat the (outsider) Frenchman, and then later as Anna travels to France, we see how the French treat this (and presumably all) German. Anger, mistrust and deceit are ever-present amongst this group of people who seemingly only want a touch of happiness, and it’s fun to note the parallels between the initial story in Germany and the later time in France.

Director Ozon flips between black & white and the periodic use of color when hope and new direction exists. It provides a personal and dramatic look to the film, along with visual clues as to what’s really occurring on screen, and is nicely complemented by the flowing score from Phillipe Rombi (Swimming Pool, Joyeux Noel). Ozon also selects one of Manet’s lesser known paintings, Le Suicide, as a link between the past and the terrific ending that reinforces the movie’s message, “life goes on”.

watch the trailer:

 

 

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Posted by David Ferguson

TOMMY’S HONOUR (2017)

April 19, 2017

Dallas International Film Festival 2017

 Greetings again from the darkness. Jason Connery (Sean’s son) directs this story about old Tom Morris and his son Tommy (Young Tom), written by Pamela Martin from the book by Kevin Cook. It’s a bit surprising that the story focuses as much or more on the melodrama and personal story of the younger Tommy than the historical influences, but there is links action to give us a feel for the times.

Jack Lowden and his dimples portray Tommy, while Ophelia Lovibond plays his love interest Meg. Their relationship drives the story, and we are reminded that small-minded people were every bit as prevalent 140 years ago as they are now. Tommy’s mother, their community, and even the minister of the Church pass harsh judgment on Meg and her unfortunate past. Combine that with the element of “Gentlemen”, which are anything but, and we get an understanding of how Tommy’s actions changed not just the game of golf, but also influenced the softening of the class difference. His push to bring respect and fairness to professional golfers erased the similarities with how race horses and golfers were treated the same from a wagering perspective.

This was the time of the original “13 Rules of Golf”, and when rowdy crowd hovered right next to the golfers as they played. Other than the closing credit graphics, Old Tom Morris (Peter Mullan) isn’t really given his due as a course designer, but this is really the story of his son, and though the film is a bit too long, it’s a story that deserves to be told.

watch the trailer:

 

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Posted by David Ferguson

FREE FIRE (2017)

April 19, 2017

 Greetings again from the darkness. Searching back through more than a decade of film reviews, I can confirm that the phrase “slapstick shootout” has not previously been part of my movie lexicon … which is a relief since it could never be more accurately placed than in description of this latest from the husband and wife filmmaking team of director Ben Wheatley and writer Amy Jump (prior works include High-Rise, Kill List and a few others). The zingers are plentiful – both in bullets and dialogue. It’s unlikely you’ve ever laughed as much during such a violent/gory/graphic assault on the senses (especially auditory).

Set in 1978 Boston, which allows for added humor via music, attire, hairstyles and vehicles, the basic premise is a meet-up for the deal between an IRA faction and a gun-dealer, with the brokers and “muscle” of each side along for the ride. When cases of AR70’s are presented instead of the ordered M16’s, the deal gets a bit shaky until cooler heads prevail. That is until one of the gun-runners recognizes an IRA guy as the one who disrespected his 17 year old cousin the night before. It’s at this point that the film cranks to a frenzy that would make the Mayhem commercial guy proud. It’s the visual definition of a cluster.

A stand-off and shootout occurs (with side deals and betrayals) over the next hour and yet the early comical dialogue somehow becomes next level great despite bullets whizzing through a terrific setting in an abandoned umbrella warehouse. Unlike in some movies, these bullets inflict pain (and the subsequent cries and wails). The characters continue to banter and threaten one another, all while dragging their lead-induced injuries across the dusty floor between various forms of protective shields strewn about the warehouse.

Normally I would concentrate on the major characters, but most everyone involved in the deal-gone-bad has at least a couple of memorable lines and moments. The gun-runners are led by Sharlto Copley as Vernon, a cocky, mouthy South African whose dialect sounds an awful like New Zealander Murray in the classic TV gem “Flight of the Conchords”. In a movie that seems impossible to steal, Copley comes the closest and his Vernon would make a perfect Halloween costume and annoying party guest. His cohorts are Marion (Babou Cesay), Gordan (Noah Taylor, Max 2002) and Harry (Jack Reynor, Sing Street, 2016). The IRA group is led by uptight Chris (Cillian Murphy), Stevo (a hilarious Sam Riley, Mr Darcy in Pride and Prejudice and Zombies), Frank (Michael Smiley) and Bernie (Enzo Cilenti). The two deal brokers are the ultra-debonair Ord (Armie Hammer) and the lone female Justine (Brie Larson). It’s a terrific cast having a ridiculously good time with a creative and rollicking script.

Know going in that the film is a very hard R-rating for violence, drug use (in the middle of the shootout), and a bounty of flowing F-words. It’s neither for the faint of heart nor those who take their standoffs too seriously. Director Wheatley employs a vast array of unusual camera angles to ensure the action never looks boring, and his use of secondary and tertiary sound (especially with dialogue) is expert and dizzying at times. Don’t expect too many layers or sub-plots. It’s simply a shoot ‘em up romp capitalizing on black comedy to the nth degree. John Denver might not have approved of the use of his song, and just remember, “We can’t all be nice girls”.

CAUTION: this is the RED BAND trailer and is NSFW or Kids:

 

 

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Posted by David Ferguson

THE PROMISE (2017)

April 19, 2017

 Greetings again from the darkness. I’ve said this before, but mixing romance with historical war time dramas is fraught with peril – it’s a difficult line to navigate for a movie. Writer/director Terry George (Hotel Rwanda) and co-writer Robin Swicord (The Curious Case of Benjamin Button) have delivered a sweeping historical epic that is immensely watchable by not over-blowing the romantic triangle, the war atrocities or the courage and bravery of the main characters.

The one-too-many lovers are played by the talented Oscar Isaac as medical student wannabe Mikael; Christian Bale as Chris, an American war correspondent; and blossoming international star Charlotte Le Bon as Ana, an American tutor based in Constantinople. These are three varied and distinct characters we accept because they have admirable qualities, as well as human flaws.

Mikael marries a local girl (Angela Sarafyan who was the robot with hypnotizing eyes HBO’s “Westworld”) for the sole purpose of using the dowry to pay for medical school. His “promise” is that he will return and learn to love her (so romantic!). Chris is a hard-driving and hard drinking journalist who is not welcome most anyplace he goes and finds himself in quite a predicament with his job, girlfriend and life. It’s not until later in the story that he flashes a caring heart underneath his armor of brash. Ana is nearly angelic at times in her goodness and with a smile that lights up the screen. Her devotion to Chris is as odd as her attraction to Mikael, but seeking logic in matters of love is often a journey without merit.

The story is based around the time of WWI and specifically highlights the Armenian Genocide – something the Turkish government denies to this day, referring to it instead as a “relocation” of nearly 1.5 million Armenians. The film began as a passion project for Armenian-American Kirk Kerkorian, a businessman, philanthropist and the once owner of MGM Studios. He raised the money and helped assemble the team, but unfortunately passed away just before production began. He would undoubtedly be proud of the finished film, and find some solace (if not humor) in the fact that it hits theatres only a few weeks after The Ottoman Lieutenant, a Turkish government backed project that purposefully ignored the atrocities and leaned heavily to a singular view of history.

The cast is deep and includes (one of my favorites) Shohreh Aghdashloo as Mikael’s wise and courageous mother, Tom Hollander (“The Night Manager”) as a fellow prisoner of the Turks, James Cromwell as an American Ambassador, Rade Serbedzija as a leader of the Armenian resistance, and Jean Reno as a commander of the French Naval fleet that plays a vital role in 1915.

Cinematographer Javier Aguirresorobe captures some breathtaking vistas and desert landscapes, while also delivering the intimacy and urgency of both the romantic and dangerous moments (including a spectacular rain-drenched train sequence). The acting is superb throughout, with Bale dialing back his sometimes over-exuberant traits, Isaac giving us someone to pin our hopes on, and Ms. Le Bon bringing the compassion to an area when it’s so desperately needed. Expect to see her explode in popularity and respect when the right leading role comes along. Lastly, it’s rare that I would think this, but the film’s 2 hour and 14 minute run time might have benefited from an additional 10-15 minutes of detail towards the Turkish military strategies, and both the Armenian resistance and slaughter. It’s a part of history that should be neither ignored nor glossed over.

watch the trailer:

 

 

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Posted by David Ferguson

GENERATION FOUND (2017, doc)

April 16, 2017

 Greetings again from the darkness. According to the statistics, I am thankful and consider myself blessed to have found nearly every bit of this film from co-directors Jeff Reilly and Greg Williams (The Anonymous People) to be new information – some of it even shocking. The staggering statistic, one in three U.S. households in America is directly impacted by substance abuse, means that even if you are one of the lucky ones, your community is undoubtedly affected.

The focus here is on Houston and a couple of local communities that are searching for a solution. Treatment centers, recovery high schools, alternative peer groups (APG), collegiate recovery programs … these are some of the approaches that we learn about thanks to the filmmakers.

“Just say No” is a slogan, while this is a revolution aiming to solve a major societal issue. In an effort to change the cookie-cutter approach of rehab and incarceration, community leaders from various walks of life collaborate to make a difference in the lives of kids. It’s a long-term alternative to the stymied War on Drugs.

Statistics are flashed periodically through the film, each with pointed effect on the challenges. We hear from parents who come clean on their own history, while also contrasting the approaches in the suburbs to those in the inner-city. There are many personal stories and intimate footage from support groups and the other organizations, and there is hope in knowing that 36 recovery high schools exist in the U.S. with 7 more being developed. The film exposes the true power of community, and how some leaders understand how crucial it is to help these youngsters develop into productive citizens. For more information, go to youthrecoveryrevolution.org

 

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Posted by David Ferguson

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