PERSONAL SHOPPER (2017)

March 10, 2017

 Greetings again from the darkness. This is quite probably the first ghost story where the most suspenseful moments center on the texts popping up on a smart phone screen. From writer/director Olivier Assayas (Clouds of Sils Maria), this one is more than a ghost story – it’s also a story of grief, a search for identity, and yes, that desire or need to connect with the afterlife.

It’s important to note that the film kicks off not with Maureen (Kristen Stewart) carrying out her duties as described in the title, but rather by being dropped off at a once grand country home, now abandoned and the source of some terrific sound mixing. Creaking floorboards, squeaking doors and groaning walls all serenade Maureen as she spends the night in search of the spirit world. We soon learn she was actually hoping to connect with her recently deceased brother Lewis … a twin with whom she had a pact that whomever passed first (they shared a heart “malformation”) would make contact with the other from beyond.

Maureen then returns to her day job as personal shopper and all-around go-fer to her egotistical celebrity boss Kyra (Nora von Waldstatten), a high profile fashion model whose snooty ways have Maureen spewing hatred of her job during Skype sessions with her long-distance boyfriend Gary (Ty Olwin). With incessantly slumped shoulders, Maureen zips around Paris on her scooter toting shopping bags filled with expensive dresses, jewelry and shoes. She’s on the outskirts of wealth and celebrity, but the to-do notes and lack of personal interaction with Kyra epitomize how far outside the circle Maureen really sits.

There are moments of acting support from Sigrid Bouaziz as Lewis’ girlfriend, and Lars Eidinger as a suspiciously low-key creep, but it’s Kristen Stewart who carries the full weight of the film, and continues her streak of very interesting work. She does so in a manner not shy about showing her body, but also with the authentic body language of someone whose frustration grows with each successive text from “unknown”. As a modern twist to the traditional thriller, the film also ties in the past with such touches as Swedish mystic Hilma of Klint and amateur spirit hunter Victor Hugo. It’s understandable how Mr. Assaya’s film received both boos AND a standing ovation at Cannes … no one is really sure how to react to the first texting ghost story!

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Posted by David Ferguson

THE OTTOMAN LIEUTENANT (2017)

March 10, 2017

 Greetings again from the darkness. A story of romance smack dab in the middle of war is always a bit risky and sometimes difficult to sell. Make it a love triangle and toss in distinct religious differences, and if it’s not a mess, it’ll do till the mess gets here (a sentiment borrowed from the Coen Brothers).

This is director Joseph Ruben’s first feature since The Forgotten (2004), and he’s also known for Sleeping with the Enemy (1991), the breakout dramatic role for Julia Roberts after Pretty Woman. The film is written by Jeff Stockwell, who is best known for Bridge to Terabithia (2007), and the script leans heavily on melodrama while also sprinkling in some acts of war.

Hera Hilmar (who favors Abbie Cornish) stars as Lillie Rowe, a head-strong free-thinking nurse living a life of privilege in 1914 Philadelphia, but committed to an ideal of justice for all. She meets a handsome and equally idealistic Dr Jude Gresham (Josh Hartnett) who is fundraising for his hospital located in the remote hills of Turkey. Circumstances are such that a Turkish officer is assigned to escort Lillie to Gresham’s hospital. As if enough sparks haven’t already flown between Jude and Lillie, it’s pretty clear that the attraction between her and Ismail (an excellent Michiel Huisman, “Game of Thrones”) is even stronger. The fourth key character here is Jude’s partner, Dr. Woodruff (Sir Ben Kingsley), whose immediate dislike of Lillie is quickly dispensed once she exhibits her medical competency.

Lillie is warned … war is coming. It’s WWI and it’s the Muslim Ottoman Empire vs the Christian Armenians. To label this revisionist history is an understatement. The 1915 Armenian Genocide is only alluded to with passing mention that the Ottomans “took steps” to control the Armenians. Even in such a lightweight and hokey melodrama, an omission like that jumps out. Whether it’s selective memory or outright propaganda, it seems obvious that the Turkish financiers were hoping to make a political/historical statement hidden behind a romantic triangle wrapped in war. The sweeping score by Geoff Zanelli and the beautiful cinematography of Daniel Aranyo both emphasize the romance aspects, while minimizing the fighting and cultural clashes.

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Posted by David Ferguson

LET IT BE: A CELEBRATION OF THE MUSIC OF THE BEATLES

March 10, 2017

Dallas Summer Musicals at Fair Park

March 8, 2017

This is one of my rare forays from the big screen to the big stage. The touring production of this world famous musical came to Dallas, and will soon play Ft Worth before heading off to the next stop.

 The Beatles’ first big UK hit was in 1962 (“Love Me Do”) and their first U.S. tour occurred in 1964. The band’s final live performance was in 1969 on a rooftop in London, and they officially broke up in 1970. During this unprecedented run (and since), The Beatles sold more records than any band in history, and changed the face and sound of popular music at least a couple of times. Because of this unparalleled success and popularity, it’s not surprising that the band and its music have now generated THREE stage productions – Rain: A Tribute to The Beatles, Beatlemania, and most recently, Let it Be: A Celebration of the Music of The Beatles.

Revamped after successful runs in London’s West End and on Broadway, this touring version is split into two parts: Act 1 hits some of the highlights of the band’s career, while Act 2 provides a look at what might have been – a reunion of the band in 1980. One could describe this as ‘What was’ versus ‘What if?’.

Kicking off with the first appearance on “The Ed Sullivan Show”, the familiar music immediately lights the warm fire of nostalgia in the audience. The other segments in this first Act include the Shea Stadium concert, the Sgt Pepper era, and finally Abbey Road – replete with a barefoot Paul. What is immediately apparent is that the four lads on stage may not closely resemble the original band in looks, but they certainly are talented musicians and singers. The banter with the audience is not especially a highlight as the exaggerated speaking voices meant to mimic Paul and John are at times cringe-inducing, but this in no way impacts the enjoyment and expert versions of the songs that are permanently imbedded in our DNA.

The difference maker in this show is the ‘What if?’ second Act, as the ultimate fan fantasy occurs – the four lads from Liverpool reunite for a concert on John’s 40th birthday, October 9, 1980. This is ten years after they disbanded, and there are some musical chills as they play a blend of their hits from “the good old days” and meld their talents on songs from their individual projects. Selections include George’s “What is Life”, John’s “Starting Over”, Ringo’s “It Don’t Come Easy”, and Paul’s “Band on the Run”. There is also “Blackbird” in the stage style of Crosby, Stills and Nash; while John’s “Imagine” truly hits the right note. Though the encore is predictable and necessary and crowd-pleasing, the musical highlight of the show is George’s searing version of “While My Guitar Gently Weeps”.

With an emphasis on the music, the stage props were minimal. Either side featured a retro dial radio and television. While the band played, the familiar clips of actual Beatles audiences were shown; during the costume changes, we were treated to music from the era, news clips, and the always good-for-a-laugh Carnation Instant Breakfast commercial. Complementing the fine music were the spot on costumes. Evolving from the early suits, mop-tops and Beatle boots to the spectacular Sgt Pepper psychedelic colors, and culminating in Lennon’s iconic New York City t-shirt, the clothes and facial hair leave no doubt as to the era. Neil Candelora plays Paul with the perfect amount of fake stage pep and constant need for audience feedback, and JT Curtis as George gets to flash his prolific musical expertise periodically while struggling to maintain the mostly still nature of the quiet one. Chris McBurney handles Ringo’s drums with relative ease, and Michael Gagliano adds the Lennon edge necessary to capture the band’s stage presence. It may not be a true “Revolution” but everything does “Come Together” for an extremely fun and crowd-pleasing time.

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Posted by David Ferguson

THE LAST LAUGH (2017, doc)

March 5, 2017

last-laugh Greetings again from the darkness. The best comedy often touches a nerve. Jokes can make us feel uncomfortable and even a bit embarrassed for laughing. Although the best comedians are traditionally those who attack the politically correct world we live in, there are certain topics that remain taboo even to the bravest comedians: child molesting, rape, AIDS, 9/11, and the Holocaust. Director Ferne Pearlstein examines the issue of taboo comedy through numerous interviews with some well known and successful comedians, authors, and even Holocaust survivors.

Much of the focus here is on the Holocaust, and some of the familiar faces providing insight include Mel Brooks, Sarah Silverman, Gilbert Gottfried, and Rob and Carl Reiner. We learn the most important rule is … never tell a crappy joke about a dark subject – it better be really funny! We also learn that while the Holocaust is mostly off-limits, the Nazi’s are fair game. Bugs Bunny, Charlie Chaplin, The Three Stooges, and The Marx Brothers have all mined the Nazi world for the sake of comedy and satire, though maybe none have done so as frequently or successfully as Mel Brooks (“Springtime for Hitler”)

One of the most interesting recurring threads of the film involves Auschwitz survivor Renee Firehouse. North of 90 years old, this remarkable lady is extremely sharp and understands the importance of laughter … while also never being shy about what she thinks is NOT funny. Ms. Firestone even meets up with the effervescent Robert Clary, a fellow Holocaust survivor, and known to many as LeBeau on the TV show “Hogan’s Heroes”.

A trip to the Holocaust Survivor Convention on the Las Vegas strip offers up more thoughts on the role comedy played in keeping these folks alive. We see rare footage of carefully staged Cabaret acts from within the concentration camps … who even knew this went on? The recently re-discovered footage of Jerry Lewis’ “The Day the Clown Cried” is also shown, and the commentary from Harry Shearer makes it clear that the rest should never find an audience.

Authors Etgar Keret, Shalom Auslander and Abraham Foxman each provide their thoughts on forbidden comedic topics, and clips are shown from “Curb Your Enthusiasm” and Brooks’ The Producers, as well as scandalous moments from Louis CK, Joan Rivers, Chris Rock, and the most censured comic of all, Lenny Bruce. Laughter may be the best medicine, but sometimes it’s interesting to take a step back and determine exactly what is off-limits. When has a joke gone too far? It appears from Ms. Pearlstein’s project that the line in the sand is determined by personal taste, preference and judgment.

watch the trailer:

 

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Posted by David Ferguson

THE FREEDOM TO MARRY (2017, doc)

March 5, 2017

freedom-to-marry Greetings again from the darkness. The film takes us back more than forty years to a 1973 poll that found the majority of the people in the United States felt homosexuality was immoral. That’s what the folks at the non-profit organization Freedom To Marry had to overcome in their decades long fight to win the right for legal gay marriage. Filmmaker Eddie Rosenstein offers up a behind the scenes, and very detailed look at the history, strategy, and tactics used by the group to reach their goals.

In 1983 Evan Wolfson wrote his Harvard thesis on why gay marriage is moral and just. After that, and because of it, Mr. Wolfson became the driving force, the leader, and the face of the movement for gay marriage rights … as well as the Director of the Freedom To Marry organization. This is really the inside story and a chronological legal and political history of the push for gay marriage.

The fight is truly a Civil Rights movement of rallies and marches – both for and against. We witness the revolution one conversation at a time, and the film counts down the days to the Supreme Court arguments, as well as the final decision. 102 days until the Supreme Court arguments open … and a reminder that about a decade prior there were zero firms that allowed gay marriage. Much time is spent with Mary Benauto, the chief litigator for the cause, and a true champion of legal gay rights.

It’s Evan Wolfson who dominates the film, and rightly so. He’s known as “The Marriage Guy” and “The Paul Revere of Gay Marriage”. We witness him leading many important meetings and consistently working towards the goal. He explains to us that AIDS shattered the silence of the community, as the movement shifted from “leave us alone” to “let us in”. As Ms. Benauto explains, “I do this work because people just want to be who they are”; but it’s Evan who makes his mission clear when he states, “I always believed we would win”. The film is an extraordinary look at a vital part of Civil Rights history, complete with heroes.

watch the trailer:

 

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Posted by David Ferguson

TABLE 19 (2017)

March 3, 2017

table-19 Greetings again from the darkness. Writer/director Jeffrey Blitz (Spellbound) takes the approach that many wedding guests would prefer – he skips the wedding and heads straight to the reception. Another wise move by the filmmaker is assembling a very talented ensemble of funny folks. This cast proves they can wring a laugh from dialogue and moments that would probably otherwise not elicit much of an audience reaction. Instead, the full house on this evening had quite boisterous responses on numerous occasions.

The initial set-up drags a bit as we are introduced to the characters that will soon enough populate Table 19 at the reception. Tony Revolori (The Grand Budapest Hotel bellhop) is Renzo, the longing for love (or anything similar) high schooler who might be a bit too close to his mother (voiced by the great Margo Martindale). Lisa Kudrow and Craig Robinson are the Kepp’s, a mostly unhappily married couple who own and run a diner together. June Squibb is Jo, the bride’s long-forgotten nanny who sees and knows more than most. Stephen Merchant plays the outcast nephew/cousin who has been recently released from his prison sentence for white collar crime. Lastly we have Anna Kendrick as Eloise, the fired maid of honor and former girlfriend of the bride’s brother (Wyatt Russell), who also happens to be the best man and now dating the new maid of honor.

This is the island of misfit wedding guests known as Table 19, and purposefully placed in the back corner as far as possible from the family and favored guests. Of course we know immediately that this Team Reject will unite for some uplifting purpose at some point, and the movie improves immediately once that goal has been revealed. Comedic timing in a group setting can often come across on screen as forced, and it’s a tribute to the cast that these characters come across as human and real.

Make no mistake though, this is Anna Kendrick’s movie. She plays Eloise as we would imagine Anna Kendrick in this real life situation. Sure, a wedding reception is low-hanging fruit for comedy, but it’s the third act where Ms. Kendrick’s talent really shines. Comedy drawn from emotional pain is the most fulfilling because we’ve all been there. The melodrama that creeps in is pretty predictable, but that doesn’t mean it’s not a good time. The scenes with Ms. Kendrick and Wyatt Russell (Everybody Wants Some!, and Kurt and Goldie’s son) are the best, and it leaves us wishing for more attention to both.

Don’t worry, the film features the required wedding cake mishap, a flirtatious wedding crasher (Thomas Cocquerel) and a drunken mother of the bride singing karaoke to Etta James’ “At Last”. It’s designed to be a crowd-pleaser, and mostly succeeds with a nice blend of silly, cute, and emotional tugs.

watch the trailer:

 

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Posted by David Ferguson

WOLVES (2017)

March 3, 2017

wolves Greetings again from the darkness. Anthony is a good kid with a bright future. He’s a star basketball player and a bright student, and has a loyal girlfriend and seemingly normal home life. It comes as no surprise that most of those elements either aren’t as smooth as they seem, or are more complex than on the surface.

Writer/director Bart Freundlich (known for his 1997 debut feature The Myth of Fingerprints, and for being married to Julianne Moore) slowly unveils the cracks in Anthony’s (Taylor John Smith) façade. His college professor dad (the always great Michael Shannon) is a drunk, abusive man with a short fuse and severe gambling addiction. He’s the kind of guy who is always working on his great American novel, while juggling gambling debts and throwing down quiet jealousy of his son. His mother (Carla Gugino) has good intentions and clearly wants the best for her son, but she’s just not capable of standing up to the menace. It plays like a Maslow’s hierarchy of crappy parenting.

There are plenty of clichés that we’ve seen in many movies, but it’s a pleasure to see so much real basketball being played. Anthony has a sweet jump shot and a sweet girlfriend named Victoria (Zazie Beetz), and the interpersonal relationships all have nuances that come across as real life. Even Uncle Charlie (Chris Bauer) seems torn about which family member most needs his protection. Emotional-physical-financial strains abound and it all seems to crash down on Anthony as he strives to earn a college scholarship by impressing the coaches from Cornell.

As Anthony navigates the choppy waters towards independence, the film teases us with some sub-plots that could have been further explored. Anthony hits it off with an older, wiser street baller (John Douglas Thompson) who starts mentoring him. We also are given hope that Anthony’s mom will actually do something for her son rather than regretting what she hasn’t done. Lastly there is a quick tease as to an alternative past that would make some sense – though whether that’s real or imagined is left up to the viewer’s perspective.

The film ultimately plays like a Disney film that utilizes an inordinate number of “F-words”, and it even reminds a bit of the Paul Giamatti movie Win Win. It’s the acting and the periodic sequences of real emotion that allow us to remain interested in the characters right up until the end … even if our hopes differ from one of Anthony’s own parents.

watch the trailer:

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Posted by David Ferguson

OSCARS 2017 recap

February 27, 2017

oscars-2017  In a year when Viola Davis urged us to “exhume those bodies” from the graveyard because that’s where the potential is, it wouldn’t be shocking to learn that long-ago-deceased Rod Serling actually produced the 2017 Academy Awards ceremony. Of course he didn’t, but … at the sign post up ahead …

In no particular order (other than the obvious #1), here are just some of the oddities – some pleasant, others head-scratchers:

  1. Re-defining ‘public debacle’, a confluence of factors caused the erroneous announcement of LA LA LAND as Best Picture, when in fact, MOONLIGHT was the actual winner. The correction occurred after a couple of acceptance speeches from the wrong film’s producers.
  2. A tour bus of surprised tourists was ushered into the Dolby Theatre leading to Denzel Washington unofficially marring Gary from Chicago and his fiancé.
  3. The “In Memoriam” section included a photo of the much-alive Jan Chapman, rather than the deceased Costume Designer Janet Patterson
  4. Amazon films won 4 Oscars (THE SALESMAN, THE WHITE HELMETS, 2 for MANCHESTER BY THE SEA)
  5. Sound Mixer Kevin O’Connell finally won an Oscar … he had previously been nominated 20 times without winning.
  6. A flag from the dance group whacked singer Auli’I Cravalho in the head as she sang the Oscar nominated song from MOANA.
  7. SUICIDE SQUAD, Oscar winner
  8. Brother and sister Warren Beatty and Shirley MacLaine were part of two separate memorable moments … 250,000 years apart.
  9. Jimmy Kimmel treating the ceremony as an all-out roast of Matt Damon
  10. Nicole Kidman clapping (Google it)
  11. The aforementioned Viola Davis being allowed to speak for almost 4 minutes, while others “played off” at 46 seconds.
  12. Damien Chazelle (age 32) becoming the youngest Best Director Oscar winner
  13. MOONLIGHT becomes one of the least expensive productions ($1.5 million) and lowest grossing movies ($22 million) to win Best Picture Oscar.
  14. O.J.: MADE IN AMERICA becomes the longest Oscar winner (7 hours 47 minutes) surpassing the 1969 Best Foreign Language Winner WAR AND PEACE (6 hours 36 minutes)
  15. 98 year old Katherine Johnson was brought on stage with the lead actresses from HIDDEN FIGURES. It was a wonderful moment that became slightly awkward as they weren’t sure whether to keep her onstage or help her off prior to the next award announcement.
  16. John Cho and Leslie Mann teamed up for a humorous overview of the Science and Technology awards from the prior day.
  17. Sarah Bareilles’ beautiful voice singing Joni Mitchell’s “Both Sides Now” during the In Memoriam section
  18. Justin Timberlake proving once again that he is one of the best contemporary performers, as his show opener of the Oscar nominated “Can’t Stop the Feeling” got the entire crowd up – dancing, singing, and clapping.
  19. A series of three Wal-Mart commercials directed by Hollywood stalwarts Antoine Fuqua, Marc Foster, and Seth Rogen/Evan Goldberg put the Super Bowl ads to shame.

Maybe the only thing missing was Rob Lowe singing to Snow White!

It was nice to see the gold statuettes spread over quite a few films: La La Land won 6, Moonlight 3, Hacksaw Ridge and Manchester By the Sea each won 2, and one Oscar went to Arrival, Fantastic Beasts and Where to Find Them, and The Jungle Book.

Fortunately, political views only snuck in a few times: Jimmy Kimmel’s opening monologue and a couple of other times through the evening (including a failed Twitter bit), and the statements from Iranian director Asghar Farhadi (The Salesman), the producer of The White Helmets, and the confusing remarks from the director of O.J.: Made in America.

At times it did feel like a long lost episode of “The Twilight Zone“, though there were enough moments to remind us that the ceremony, at its core, is a celebration of cinema – and the magic it brings.

oscars-2017b

 

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Posted by David Ferguson

THE SALESMAN (Forushande, 2016, Iran)

February 25, 2017

salesman Greetings again from the darkness. Iranian writer/director Asghar Farhadi won the Best Foreign Language Film Oscar for his 2011 A Separation, and with his latest (also Oscar nominated), he proves yet again that his unique approach to family/domestic dramas might best be described as simmering suspense artistry. He certainly knows how to tell a story and structure a film for maximum impact.

Shahab Hosseini (A Separation) and Taraneh Alidoosti (About Elly) star as Emad and Rana, a normal and seemingly happily married couple. One morning, some heavy equipment jeopardizes the stability of their apartment building and they escape to the streets. Husband and wife are both performing in a community theatre production of Arthur Miller’s “Death of a Salesman” and at that evening’s rehearsal, one of their castmates, Babak (Babak Karimi) offers the couple the use of a rooftop apartment … he has recently evicted the tenant.

Of course, this bit of luck comes with some baggage … specifically, the baggage and belongings of the previous tenant who (unseen to viewers) keeps telling Babak she will return for her stuff. Meanwhile, the neighbors inform Emad and Rana that the previous tenant and her “many acquaintances” (paying clients, if you get my drift) will not be missed. This history comes into play when one evening a home invasion leaves Rana dazed, injured and being treated at a local hospital. This sets off the cultural commentary about the roles and power of Iranian men vs women, as well as a psychological study of wounded pride, a need for revenge, and a scarred psyche who wishes to be neither alone nor coddled.

The strained marital relationship has some interesting parallels with the scenes depicted in the Miller play, and there are also a few key moments in the build-up … moments of subtlety for the discerning viewer. Foreshadowing occurs in a seemingly humorous moment when one of Emad’s students asks during class, “How does a man become a cow?”, and Emad answers “Gradually.” A throwaway line is never really that in a Farhadi script.

Most of the film centers on how Emad and Rana react to the traumatic event, and for the first two-thirds, it’s Emad’s movements that we follow. However, during the extraordinary final act, Rana becomes the focus and there is a tremendous performance from Farid Sajjadi Hosseini as an older gent in a key role. So much raw human nature is on display here – pride, revenge, forgiveness, trust, weakness, etc. It’s the type of film that has much going on even during the parts that might seem slow on the surface. Farhadi is an exceptional filmmaker, and evidently, he will just continue to prove it so.

watch the trailer:

 

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Posted by David Ferguson

DYING LAUGHING (2017, doc)

February 24, 2017

dying-laughing Greetings again from the darkness. We all want to be funny. Making people laugh allows for an immediate connection … plus it just feels good to make someone else happy. Co-directors Lloyd Stanton and Paul Toogood show us the dark side (or at least the backside) of comedy through a series of black and white filmed interviews with dozens of stand-up comedians. In this age of political correctness, Chris Rock explains that there is only one group who says what they want to say: stand-up comedians.

It plays not so much as “how to become a comedian”, but rather a therapy session for those who already are. It’s loosely structured into segments that provide very specific insight and real life stories on: the first time on stage, life on the road, dealing with hecklers, the devastation of bombing, how to connect with an audience, and what it’s like to be “on” or really kill it.

The list of participants is too long to list here, but includes such stalwarts as the aforementioned Mr. Rock, Jerry Seinfeld, Sarah Silverman, Jerry Lewis, Kevin Hart, Amy Schumer, Billy Connolly, and Dave Attell. Those at the top of their profession open up about what it takes and how they made it. Think “Take a Parent to School Day”, without the societal filter or peer pressure. These folks spend most of their waking hours looking outward for material, but here they are generous enough to look inward so that we might better understand their craft.

A diverse cross-section of comedians provide examples of racism, sexism and most any other ism. There is also the admission that a need/desire for acceptance exists pretty much across the profession. The struggles and challenges make up the experience which is vital to the growth and survival of a comedian … and maybe even what strands of sanity they possess. We hear stories of writing and re-writing jokes over and over again for years, before finally hitting on the right wording and delivery. We learn Smartphones often contain pages of notes on ideas and partial jokes, and that pain on stage often leads to a better act.

Jerry Seinfeld produced a documentary in 2002 entitled Comedian, and it dealt with the rigors of honing the act in front of audiences, and when combined with this project, we are reminded that comedy is at its best when it is about SOMETHING (fertile ground these days) … and that every comedian gets knocked down – but then gets up again (tip of the cap to Chumbawamba). The film is dedicated to the late Garry Shandling (who also appears in the film) and leaves us with the thought that “the laugh is your reward as a comedian”. And that’s pretty sweet.

watch the trailer:

 

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Posted by David Ferguson

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