EQUITY (2016)

August 11, 2016

equity Greetings again from the darkness. A film made by women in a male-dominated profession about women in a (different) male-dominated profession becomes the first female-centric Wall Street movie. Director Meera Menon (Farah Goes Bang) and writers Amy Fox, Sarah Megan Thomas and Alysia Reiner have a lot to say … maybe even more than they intended.

Anna Gunn (“Breaking Bad”) delivers a strong lead performance as Naomi Bishop, a hard-driving and successful investment banker – a self-described “banker chick”. She’s coming off a failed client IPO – her biggest career failure. Naomi basically torments and disrespects her first assistant Erin (Sarah Megan Thomas), and she regularly sleeps with a co-worker and hedge fund manager Michael Connor (James Purefoy) for the benefits only. In other words, Naomi is much like the men we have seen in these roles over the years.

While pursuing her next IPO with a hotshot d-bag tech entrepreneur (Samuel Roukin as Ed) who claims to have a revolutionary impenetrable cyberware, Naomi is unwittingly (although it could be argued that she SHOULD have known) being played by multiple parties. One of these is a Justice Department investigator (Alysia Reiner as Samantha) who is trying to use their old college connection as a way to gather intel on Naomi’s firm and Michael Connor. Adding complexity and turmoil are Craig Bierko as an egotistical investor who pressures Michael for insider info, Sophie von Hasselberg (Marin) who is a disgruntled programmer for Ed’s company, and Tracie Thoms as Samantha’s partner and co-parent of their kids.

Fractured relationships abound as all characters are driven by something other than the relationships. We are told “money is not a dirty word”, but it sure seems like motivation for these folks is centered on power, ambition, and yes … money. The social issues and moral dilemmas come across as less important than the challenge of competing (rather than collaborating). Seamless backstabbing is a valued skill in this world, and always present are greed, desperation and paranoia. This is post-2008 Wall Street, but it looks pretty darned familiar.

Previous films have taken us inside this world. Wall Street (1987), Margin Call (2011), The Wolf of Wall Street (2013), and The Big Short (2015) each provided some lesson on this corrupt-to-the-core industry and helped us understand the dual meaning of the title, but this is the first to show us the women who fight the same fights. If there is a disappointment here, it’s the apparent conclusion that putting women in the same high-stakes game as men means they will compete in much the same way, rather than finding a better, more graceful way. Gordon Gekko may not have been right when he said “greed is good”, but it seems pretty clear that greed is prevalent. It’s a lesson we evidently must be reminded of on a regular basis … and whatever you do, make sure to count the chocolate chips before giving that cookie to Naomi!

 watch the trailer:

 

 

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Posted by David Ferguson

MISS SHARON JONES!

August 10, 2016

Dallas International Film Festival 2016

miss sharon jones Greetings again from the darkness. Being described as “the female James Brown” is a double-edged sword. On one side, the talent and stage presence must be obvious. On the other side, the burden of expectations that can never be eclipsed is always present. Soul/Funk/R&B singer Sharon Jones doesn’t much care about any of that … and in this documentary we witness both her strength in life and her powerhouse performances on stage.

Filmmaker Barbara Kopple is a two time Oscar winner (Harlan County USA, 1976 and American Dream, 1990) and here she presents not so much a music or concert documentary, as an intimate look at how a person can be inspired and driven by music to fight through life’s challenges – and even cancer. In 2013, Miss Jones was diagnosed and much of the film follows her through head-shaving, chemotherapy and the battle to regain her voice and strength.

Born in North Augusta, South Carolina, Sharon was raised in Brooklyn. Her background was anything but privileged, and as an adult she spent years working as a Corrections Officer at Rikers Island, while continuing to sing in her spare time. A record producer once told her she was ‘too black, too fat, too short’ to make it, but she just kept singing … releasing her first album at age 40.

Sharon’s spirit and energy are the core of the story here as even after her cancer diagnosis, she carried the pressure of needing to get back to singing and performing so that her band members in The Dap-Kings could earn a living and feed their families.

Her NYC comeback is impressive and life-affirming, but the highlights are clips of her earlier stage performances … and the most incredible in-church performance you are likely to ever witness. In 2014, she won her first Grammy for “Give the People What They Want”, and Ms. Kopple’s film shines a spotlight on an incredible talent and spirited lady who deserves much more than to have a cult following and be “underappreciated”. Perhaps the film will open some eyes, ears and hearts.

watch the trailer:

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Posted by David Ferguson

INDIGNATION (2016)

August 4, 2016

indignation Greetings again from the darkness. Quite often, Hollywood “period pieces” feel dated and somewhat irrelevant to our world today – as if they were a snapshot from an old magazine. But the best ones transport us to a different era while also serving up themes and characters that are just as interesting and germane today as then … and that’s what we have here.

First time director James Schamus (founder of Focus Features) is an Oscar nominated producer (Brokeback Mountain) and writer (Crouching Tiger, Hidden Dragon), and he tackles the popular 2008 Philip Roth novel … one that the 83 year old novelist admits to being influenced by his own college years. Mr. Roth has been writing novels for more than 50 years and won the Pulitzer Prize for his 1997 “American Pastoral”.

Taking on the lead role of college-bound Marcus Messner is Logan Lerman … an actor who has been on screen since he was 8 years old, and seems to have the eternal youth DNA so sought after by Ponce de Leon. While his looks haven’t changed much since the “Percy Jackson” films or the excellent The Perks of Being a Wallflower, Lerman shines here as the working class Newark Jewish boy, smothered by his parents, and as naïve to the world as he is academically gifted.

It’s 1951 and too many neighborhood boys are arriving back home in pine boxes after serving in the Korean War. Marcus’ father (Danny Burstein) is a kosher butcher and is half of the hyper-cautious parental unit that is alternatively thankful and frightened that their son is avoiding serving in the military by heading off to ultra-conservative (and fictional) Winesburg College in Ohio.

Once on campus, Marcus discovers little of the hoped-for freedom. Mandatory chapel attendance, roommates assigned via religious leanings, and the expectations of joining the Jewish fraternity and hanging out with his own kind combine to be only a different kind of emotional stifling than what he had at home. A series of events serve to shake up Marcus and his beliefs. Date night with his dream girl from the library ends with him being both repulsed and enchanted by a sexually assertive Olivia (Sarah Gadon). An argument with his lughead roommates ends with his being given the worst dorm room on campus. Meeting with the College Dean (Tracy Letts) results in an exhilarating debate that will surely be treasured by all who adore wordplay and oratory sword-fighting. Finally, an emergency appendectomy brings a hospital visit from Marcus’ mother (Linda Emond), and a conversation that drastically alters the course of his life.

The conservative social mores of the 1950’s are on full display, as is the restlessness of the young who would change society forever. Fear would be replaced with daring, and the film does a terrific job of highlighting how revolution often comes at a high price. Bookended by war scenes that dramatize the fine line between civilized society and the brutality of war, it all comes together … bringing more power and poignancy to the two best scenes: as previously mentioned, Letts and Lerman go mano y mano in arguing the brilliance of Bertrand Russell, and their word battle highlights the age-old idealist vs. real world struggles; a mother-son scene towards the end is as heart-breaking as any we’re likely to see on screen this year. Mr. Letts, Ms. Emond and Ms. Gadon all work well with Logan Lerman in order to provide an excellent presentation of Roth’s novel and Schamus’ first film.

 watch the trailer:

 

 

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Posted by David Ferguson

GLEASON (doc, 2016)

August 4, 2016

Gleason Greetings again from the darkness. Heroes come in many shapes and forms. Steve Gleason became a cult hero when he blocked a punt for his New Orleans Saints team in their first home game after Hurricane Katrina. For this, the team erected a life-sized statue outside the Superdome. In his time since that game, he has suffered more than any person should, and he has provided hope and assistance to more unfortunate folks than just about anyone. By now, just about everyone would consider him a hero.

Director Clay Tweel takes a very direct approach to telling Steve’s story. He guides us through the life of the undersized Washington State linebacker who, against all odds, carved out a 9 year career in the NFL; married a remarkable woman who was his equal as a free-spirit; was diagnosed with Amyotrophic Lateral Sclerosis (Lou Gehrig’s disease); learned to live with the debilitating disease; established a foundation to provide assistance to others with ALS.

Tweel pulls no punches in showing the progression of the devastating disease, and equally as importantly, in the toll such a disease takes on the loving caregiver after so many years. Gleason retired in 2008, and was diagnosed in 2011. Six weeks later, he and his wife Michel found out she was pregnant with their first child. Staring down the disease and the impending birth of their child, the couple took a 2 month expedition to the Alaska wilderness. This could be interpreted as their way of leaving their “old life” behind, but this couple is so full of life and spirit, that it was in fact, merely a next step.

The diagnosis and the baby announcement motivated Gleason to begin filming video blogs/journals for his unborn child. His stated goal was to “share with you who I am”, since the odds weren’t good that father and son would ever be able to hold a conversation or play catch. Clips of these video entries are shown throughout and capture Gleason’s charm, humor, sincerity and sprit of life.

Son Rivers arrives in October 2011 just as the disease is creating severe challenges for Steve’s physical and verbal capacities. We watch as Michel transitions from free-spirited newlywed to full-time care-giver and first time mother. Her coping methods are on display, as are the effects on her energy and outlook over the next few years.

With the help of friends and family, Team Gleason is created as a foundation to provide assistance to ALS sufferers. The foundation finds its newest mission when Medicare announces that vocal/speech technology will no longer be covered for ALS. “No White Flags” becomes the calling card for the foundation, and these activities are blended with Gleason’s medical and family hurdles … including his religious father who drags him to a ‘faith healer’.

Moments with Eddie Vedder and Drew Brees, among others, lead us to the global phenomenon known as “the ice bucket challenge” for ALS and finally the Microsoft Super Bowl commercial featuring Gleason and new speech technology. The film and story are simultaneously gut-wrenching and inspirational, and provide a rare behind-the-scenes look at the emotional and physical impact of disease on both patient and caregiver.

watch the trailer:

 

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Posted by David Ferguson

RICHARD LINKLATER: DREAM IS DESTINY (doc, 2016)

August 4, 2016

linklater Greetings again from the darkness. He had the childhood dream of becoming a major league baseball player derailed due to a health issue. His dream of becoming a novelist fizzled because he preferred collaboration to solitude. So his dreams led to his destiny … that of being a ground-breaking filmmaker who “changed the landscape of independent filmmaking”. Director Richard Linklater is profiled by co-directors Louis Black (co-founder Austin Chronicle and SXSW) and Karen Bernstein (Emmy and Grammy award winner), two passionate and knowledgeable folks who are understandably fans of Linklater and the Austin film landscape.

The film kicks off with a scene from Slacker (1991) in which Linklater himself appeared as a taxi passenger rambling philosophically about the bus station. It then time warps to the red carpet event for the premiere of Linklater’s Boyhood (2014), setting the stage for filling the gap of more than two decades.

It might be best to think of this as a tribute to Linklater the filmmaker rather than an in-depth analysis of how he creates his art … though we do get to see him on set. Some of the time is spent watching Linklater and Black peruse old journals and early screenplays as the young director was honing his thoughts and talent. This type of nostalgia could be overdone, but instead it allows us to better understand the journey that has produced some outstanding work (along with a few forgettable projects).

Over the years, so much attention has been paid to the NYC vs LA preferences within the film industry; it’s a pleasure to acknowledge the “outsider world” of Austin, Texas … a film scene nurtured by Linklater and his cronies. There are plenty of family photos and home videos, along with the celebrity input of Jonathan Demme, John Pierson, Kevin Smith, Matthew McConaughey, Jack Black, Ethan Hawke, Patricia Arquette, and Ellar Coltrane (the kid from Boyhood). Each speaks admiringly in regards to Linklater’s spirit and passion for the work. It’s especially interesting to hear of his budget/fundraising struggles on Boyhood – an understandable challenge since the project took 12 years, and required he return for funding each and every year!

Richard Linklater is auteur defined. He is his work, and his work is him. He’s been at the forefront of the indie wave with Slacker (1991), followed by the cult favorite Dazed and Confused (1993), the “Before” trilogy (Sunrise – 1995, Sunset – 2004, Midnight – 2013), box office hit School of Rock (2003), the oddball Bernie (2011), groundbreaking Boyhood (2014), and his most recent Everybody Wants Some! (2016). Linklater is proof that creative filmmaking can thrive in a place like Austin, Texas … even if he might still like to be a baseball player.

 

 

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Posted by David Ferguson

THE MAN WHO SAVED BEN-HUR (2016, doc)

July 28, 2016

man who saved ben hur Greetings again from the darkness. The title may limit interest in this documentary as it might be mistaken for an “on the set, behind the scenes” tell-all appealing only to the most ardent film history buffs. However, this plays best as a tender tale of an elderly man who lived an exciting life, but finds things pretty empty as he nears the end.

Filmmaker Joe Forte was cautioned by his deeply Catholic family to stay away from the movie business, lest he “end up like Cousin Johnny”. Just a few years ago, Joe decided to track down Cousin Johnny, and he discovered they were separated by only a few city blocks. Johnny Alarimo was one of the most successful Assistant Directors from the 1950’s, 60’s and 70’s, and on the day he invited Joe and his camera into his home, the apartment was filled with boxes of memories.

A treasure trove of photographs – many featuring Johnny posing with the Hollywood elite – were organized in files, sleeves and boxes. And the best part was that, despite being in his late 80’s, Johnny could recall the stories corresponding with most every snapshot.

Being a relative, Mr. Forte treads lightly on the topics Johnny wishes to avoid. We learn of his close friend from WWII, Henry “Pet” Petrich. It’s clear the two shared a bond, though Johnny remains pretty tight-lipped on details … just like on his stories regarding time with Rock Hudson and Gore Vidal. The likely secret life would remain secret forever, but we find ourselves liking this charming man more and more as the film continues.

We do get the Ben-Hur story as it’s disclosed that Johnny was director William Wyler’s Assistant Director, and was an integral part of getting the movie made as he acted as on set translator between the English and Italian speaking folks. Wyler’s personal letter to Alarimo is every bit as valued as the autographed portrait sketch of Johnny by “Chuck H” between takes. Though he was the last surviving crew member of Ben-Hur, it’s also a reminder that only department heads received on screen credit until the 1970’s – robbing many contributors of their rightful place in Hollywood lore.

As Joe and Johnny grow closer as friends, we as viewers find ourselves connected to Johnny. We are saddened when he admits that his doctor’s appointments for medical issues are the highlight of his social life these days. Joe provides Johnny with exactly what he wants, needs and deserves … a chance to be the star and tell his stories. More importantly, he prevents an elderly man from living out his final days in loneliness and solitude. No matter how many celebrities one has met, nothing compares to the warmth of a friend.

watch the trailer:

 

 

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Posted by David Ferguson

ANTS ON A SHRIMP (2016, doc)

July 28, 2016

ants on a shrimp Greetings again from the darkness. One need not be a true foodie to be aware of the rise in popularity of the bombastic, egotistical chefs splattered all over TV as they strive for ratings by out-yelling the competition. Less accessible to the general population – due to cost and/or locale – is the highest level of fine dining that is a cult unto itself. One of the most successful elite restaurants is Noma based in Copenhagen, Denmark. It was named “Best in the world” for four out of five years (2010-2014), and yet the owner/chef remains unsatisfied.

Last year, filmmaker Pierre Deschamps provided a profile of Rene Redzepi and his world class restaurant in the film Noma My Perfect Storm. This time, filmmaker Maurice Dekkers takes a different approach. He follows Redzepi and his senior staff as they temporarily relocate Noma to Tokyo in a risky and difficult project.

Much more than a glimpse into a restaurant kitchen, this is an examination of collaborative artistry. Redzepi and his dedicated, enthusiastic team (Lars, Thomas, Rosio, Dan, Kim) strive for perfection in something that can’t be measured. It’s internal pressure and tension within a creative environment … something only the most internally driven can comprehend.

The structure of the film is the countdown to the opening of Tokyo restaurant. All 3000 available reservations for the 6 weeks are sold out, and the waiting list numbers more than 58,000. The team is committed to leaving behind their pure Nordic cuisine and discovering locally sourced new ingredients … a mission that finds them scavenging Nagano Forest and comingling with fish experts at market.

Food is the centerpiece here as the team learns turtle is a local delicacy; they gain respect for Japanese fruit culture that dates back thousands of years; and even tries deep fried fish sperm as a possible offering. But beyond the food, this is about a group stepping outside their comfort zone and trying to find their “voice” – despite a firm belief that nothing is ever quite good enough … a sentiment their customers don’t agree with.

watch the trailer:

 

 

 

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Posted by David Ferguson

CAFE SOCIETY (2016)

July 21, 2016

cafe society Greetings again from the darkness. 80 year old Woody Allen continues to amaze with his proclivity to crank out a movie every year. With such movie abundance comes the inevitable hit and miss conversations. Of course, there are those who have never had a taste for his work and another group who have sworn off his films due to the headlines from his personal life. Still, as a filmmaker, his work is usually good for some analysis and debate.

This time out, Woody’s story is set in the 1930’s and it revolves around a young man from the Bronx who heads to Hollywood in hopes of making something of himself. Bobby (Jesse Eisenberg) is the typical on screen alter-ego for Mr. Allen and displays many of the physical and personality traits we have come to expect. It’s a perfect fit for Eisenberg. Bobby’s naivety takes a beating as he assumes a gofer job under his Uncle Phil (Steve Carell), a power broker agent to the stars. Things really get juicy when Phil directs his secretary Vonnie (Kristen Stewart) to show the local sites to Bobby. As the two youngsters grow closer, Vonnie must choose between the romantic idealism of Bobby, and the luxuries afforded by her older boyfriend (guess who??).

Allen revisits many (if not all) of his familiar themes: religion and the afterlife, misfit relationships, Los Angeles vs New York, jazz, older man/younger woman, and one of his favorites … “what’s the point?” This time he also throws in a nostalgic look at Hollywood by name-dropping some famous stars of the era, but he’s just as quick to flash his lack of respect for the movie industry and seems to compare it to the world of east coast gangsters (such as Bobby’s brother played by Corey Stoll).

This is Mr. Allen’s first digital movie, and it’s his first time to work with legendary cinematographer Vittorio Storaro (3 time Oscar winner for Apocalypse Now, Reds, The Last Emperor). The golden hue and low-level lighting provide a nostalgic feel and warmth to the scenes – even when the characters themselves aren’t so cuddly. Excellent set design and costumes add to the beautiful and classy look of the movie. As always, Allen is working with a deep cast – this one includes Sheryl Lee, Anna Camp, Parker Posey, Paul Schneider, Blake Lively, Jeannine Berlin and Ken Stott.

“Life is a comedy … written by a sadistic comedy writer.” It’s the perfect Woody Allen line and we get the feeling he actually believes it. Heard here as a somewhat emotionless narrator, Mr. Allen makes it clear that Bobby’s character (with no apparent skills) is a fish out of water in L.A, but thrives in nightclub management once he returns to the beloved NYC. Bobby’s adventure hardens the young man, while he maintains the mushy core of first love that Woody so adores. Toss in a love triangle and little respect for the women characters, and we end up with a movie that feels like a movie about Woody Allen movies.

watch the trailer:

 

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Posted by David Ferguson

THE CHILDHOOD OF A LEADER (2015)

July 21, 2016

childhood of a leader Greetings again from the darkness. Brady Corbet has established a pretty nice career as an actor (Melancholia, Funny Games), and along comes his feature film debut as a writer/director (co-written with Mona Fastvold). In this day of remakes and reboots, this one is anything but. The “Overture” sets the mood with video clips of the WWI aftermath and the explosive score from Scott Walker quickly establishes itself as a character unto itself.

Subsequent title cards are broken into three “Tantrums”, as we witness the ever-escalating inappropriate behavior from young Prescott (Tom Sweet). In what on the surface could be classified as a nature vs nurture expose’, the film leaves little doubt that Prescott is rebelling against the monotony of his environment and the disengaged parents to which he is tethered. However, it also seems evident that young Prescott is inherently “off”. He seems to be cold and emotionally removed as he engages in battles of will with his parents … his father (Liam Cunningham) a US diplomat knee-deep in negotiations that will lead to the Treaty of Versailles, and his mother (Berenice Bejo), a self-described “citizen of the world”.

Two obvious film comparisons would be The Omen (1976) and We Need to Talk About Kevin (2011). The ominous music and settings leave little doubt that we are headed somewhere very dark here, though it’s not in the religious sense of The Omen and it’s more global than the intimacy of ‘Kevin’. Thinking of this as evil in the making would be a just description, though a different title might have held the ending a bit longer.

Support work is provided by Stacy Martin as the French teacher and Yolanda Moreau as the housekeeper who has moments of connection with the challenging Prescott, but Robert Pattinson fans will be surprised at how little screen time he has – especially for dual roles.

Young Tom Sweet is fascinating to watch in a very tough role for a child actor, and director Corbet proves he is a filmmaker we should follow closely. His visual acumen is something special, and offsets a script that could have used a bit of polishing. The movie will probably prove divisive – either you will find it mesmerizing and creepy, or you simply won’t connect at all. That’s often the case with a creative and bold project.

watch the trailer:

 

 

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Posted by David Ferguson

FREE TO RUN (2016, doc)

July 15, 2016

free to run Greetings again from the darkness. Director Pierre Morath seemingly had three good ideas for a movie: a history of long-distance running, the fight and final acceptance of women into the sport, and an analysis of holistic running vs. competitive running. Any of the topics would make a solid documentary, but when combined, the result is a bit of a hodgepodge that is still interesting and informative.

All of the familiar names are present: Frank Shorter, Bill Rodgers, Jim Fixx, Steve Prefontaine and Joan Benoit . However, it’s Fred Lebow and Karen Switzer who prove to be the most compelling figures. In 1967, Ms. Switzer was the first woman to run the Boston Marathon, and you’ve probably seen the iconic photo of some guy trying to forcibly remove her from the race. It’s pointed out that at the time, women still didn’t have the right to vote in Switzerland – an effective means of showing that women were still fighting for basic equality. Mr. Lebow founded the New York Runners Club and was instrumental in moving the NY Marathon from The Bronx to Central Park. He was a marketing man and promoter at heart, and was a key figure in expanding the popularity of distance running.

It was 1984, before the Women’s Marathon became an official Olympic sport, the coverage of Ms. Benoit’s win is compared to women winning the right to vote. It’s also noted (somewhat facetiously) that “it’s the first time women are allowed to be exhausted in public”.

Perhaps the most interesting pieces of this running puzzle focus on the “free your mind” aspect of running that stands in stark opposition to the mega-corporate effects of Nike (and other corporations) on running events. Corporate sponsorships and vast sums of money created a global network of high-profile and finely-tuned runners, while the inner peace attained from running allowed the activity (rather than the sport) to continue to grow in acceptance from those looking to escape some of the day-to-day stresses of life.

The “dark side” of the sport reared its head in 2012 after Hurricane Sandy left destruction in the path of where the NYC Marathon (50,000 runners) was to be held. With the big money at stake, some poor decisions were made as citizens throughout the area were without power, clean water and even shelter.

Admittedly, distance runners can often be described as “oddballs”, and though it only takes a pair of sneakers and some shorts to “go for a run”, it’s the corporate sponsorships that make it big business … but at least now, women are right there with the men – whether it’s a big city marathon or a jog through the park.

 

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Posted by David Ferguson

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