ME BEFORE YOU (2016)

June 2, 2016

me before you Greetings again from the darkness. Who doesn’t enjoy a good cry in a dark movie theatre? The first feature film from director Thea Sharrock is taken directly from the tear-jerker novel by Jojo Meyes (who also wrote the screenplay). Although I try to avoid using the term very often, it’s very much a by-the-numbers chick flick … complete with the heart-of-gold working class girl trying her best to “save” the handsome rich guy to whom life has dealt a tough hand. For fans of the book and the genre, it should deliver the desired effect … the studio even provided movie logo tissues for the screening.

For most of us, the effectiveness of this type of movie comes down to the characters. Luisa is the effervescent working class girl hired as a personal assistant to the extremely wealthy quadriplegic Will Traynor. Emilia Clarke (“Game of Thrones”) does everything in her power to make us (and Will Traynor) like Luisa. To describe her as optimistic is like saying Eric Clapton can play guitar. Calling her perky would be like saying Donald Trump has hair. Both statements are true, but hardly capture the totality of reality. In stark contrast, Sam Claflin (The Hunger Games: Mockingjay) purposefully underplays Will … the one time cliff-diving, James Bond birthday video type now confined to a wheelchair.

Lu is a constant toothy smile complemented by expressive and active eyebrows that somehow overshadow her chatty bedside manner, and kaleidoscopic and geometric clothes and shoes … all encompassed with an ever-bouncy step that would make Tigger envious. Lu mostly shares the screen with Will and the personal nurse and therapist Nathan, played by Stephen Peacocke. The camera certainly loves all three of these faces, and director Sharrock wisely adds Janet McTeer and Charles Dance as Will’s parents. They bring a regal presence to what otherwise could have played a bit too cutesy.

Despite the heavy dose of “awww”, the story deserves credit for touching on the “right to die” or “dying with dignity” debate. While those closest to Will selfishly proclaim they don’t understand his plan to head to Switzerland, it’s Nathan who says it best … ‘who am I to judge’. While a full on discussion of the topic would be out of place here, the film does a nice job of not shying away from the process.

Other recognizable faces in the cast include Jenna Coleman (“Doctor Who”) as Lu’s sister and confidante, and Matthew Lewis (Harry Potter series) as Lu’s fitness freak boyfriend who isn’t very understanding … of either Lu or her job. There’s also an odd but welcome wedding cameo from Joanna Lumley. My biggest issue with the story is that I just never understood how or when Lu fell so deeply in love with Will. Sure, I get the appeal of the castle, the concertos, and the tropical vacations, but where was the real personal connection? Was it simply that she thought she could charm Will into changing his mind on the big decision?  That’s not really love. Another piece that’s difficult to take … the numerous musical interludes seemingly designed to make sure viewers are in the proper state of melancholy. There was another segment that I found not just ironic, but actually annoying; however, discussion of the “Live boldly” advice would give away the film’s ending … something I’m not sure even matters since it’s made pretty clear throughout, but it still goes against my movie code.

watch the trailer:

 

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Posted by David Ferguson

THE WITNESS (doc, 2016)

June 2, 2016

witness Greetings again from the darkness. Remember that time you told yourself “I don’t want to get involved”? We live in an era when the phrase “If you see something, say something” is more catchphrase than active philosophy, and it’s pretty easy to justify looking the other way by thinking “It’s none of my business.” In 1964, twenty-eight year old Kitty Genovese was brutally attacked and murdered in Queens. The New York Times reported that the same man attacked her three times, and that no one called the police, despite her screams and 38 people witnessing the attacks over a half hour. Her story became the symbol for “bystander apathy” and led to development of the 911 system and the “Good Samaritan Law”.

Forty years after the attack, the New York Times examined their original story, and it’s that piece that brought together filmmaker James D Soloman (he wrote the screenplay for The Conspirator) and Kitty’s brother Bill. Their goal was to research the horrible events of that night and determine once and for all if the legendary story is fact or a case of media sensationalism. With its flashbacks to multiple news stories over the years, the film begins as a procedural and evolves into Bill’s personal journey of emotional turmoil in regards to his big sister’s life and death.

Bill was only 16 years old when Kitty was killed; and three years later, he lost both legs while serving in Vietnam. It’s his calmness and intelligence that we are so drawn to as he makes his way through the crime scenes, interviews witnesses/neighbors/family members, and examines as much of the existing evidence as possible. His fascinating journey finds him crossing paths with Mike Wallace of “60 Minutes”, Abe Rosenthal (the NY Times editor who ran the original story and wrote a book about the case), the police detective who investigated the case, the prosecutor, and the defense attorney for Kitty’s confessed murderer.

As compelling as the complete film is, there are a few segments that really stand out. Mr. Rosenthal’s attitude and lack of remorse for running such a sloppy story is sickening – even 50 years after the fact. It’s an extraordinary example of how the media can manipulate a story for ratings, and of how little things have changed over 5 decades. A face-to-face sit down with the Reverend son of the confessed killer is both awkward and frustrating, while also enlightening as to how family members can revise history in order to live with it. Finally, Bill’s visit to the home of Kitty’s old friend and neighbor Sofia is heartbreaking as the woman remembers comforting Kitty in her last few moments of life.

Bill discovers numerous conflicts to the original NYT story … there were two attacks, not three; the number 38 for witnesses seems to have been fabricated; most of the witnesses were ear-witnesses, not eye-witnesses; and there is every indication that multiple calls were made to the police … thereby muting the argument that neighbors were too apathetic or frightened to get involved. While none of these points are especially surprising to us, it’s Bill’s story now and we can’t help but feel for him.

Mr. Soloman expertly structures the film so that we can experience both the highs and lows of Bill’s efforts. We hear the recording of Kitty’s former roommate as she shed lights on Kitty the person, rather than Kitty the victim. Bill reads the letter from Rocco, Kitty’s ex-husband as he declines an interview. We are in the room when Bill is questioned as to whether he is part of the infamous Genovese crime family, and we see Bill tackle the trial transcripts with the words “heard screams, saw nothing” repeated many times. If this is a study on social behavior, it may be more pertinent to media motives than human reaction … but this isn’t the place to bash the media – it’s a compelling look at one man’s quest to find peace with the past.

watch the trailer:

 

 

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Posted by David Ferguson

IT’S SO EASY AND OTHER LIES (doc, 2016)

June 2, 2016

Its so easy Greetings again from the darkness. This biopic will probably be a ‘can’t miss’ for fans of Guns ‘n Roses and Velvet Revolver, while registering not so much as a blip for the rest of the universe. From a filmmaking perspective, director Christopher Duddy takes a different approach, as the core of the film has subject Duff McKagan onstage (at Seattle’s Moore Theatre) reciting passages directly from his own autobiography … while being backed by a soft playing band in front of a live audience.

The film begins with an Upton Sinclair quote as if that will somehow add literary authenticity to the memoirs of a rock star and recovering addict. It’s not surprising that the most interesting parts of McKagan’s life story are the bits and pieces of his numerous band projects … beginning when he was 15 years old and drawn to the Punk Rock world at Seattle’s The Gorilla Room in 1979. After having played with dozens of bands, a meeting with guitarist Slash changed his life. Soon, Guns ‘n Roses was opening for Motley Crue (Nikki Sixx is interviewed) and not long after they were headlining their own stadium shows and selling millions of records.

What doesn’t really work is the rehash of McKagan’s abuse of vodka that led to the life-threatening pancreatitis. We’ve heard the story (or those like it) so many times before … especially from well worn rockers looking to make another buck. Of course it’s startling to see the names flash across the screen – those he knew and played with who weren’t able to come out of their addiction and abuse.

The film doesn’t spend much time on Guns ‘n Roses or his time with Velvet Revolver, though we get the gist of each. It’s McKagan’s insistence on telling us how close to death he was, and how lucky he is now, that really slows down the pace … listening to his confessions comes across a bit like a musical AA meeting. McKagan’s business school background is impressive and helps set him apart from many of the other train wrecks in his industry, but what’s missing is any indication that he is an extraordinary musical talent … it leaves us feeling he is just a lucky guy who was in the right place at the right time, then messed it up with addiction, managed to clean up and get a real life, and then nearly messed it all up again. While we may be happy for his success and the fact that he has survived, there’s not much here to set his story apart from many others … and certainly nothing that leaves us in awe of his talent.

watch the trailer:

 

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Posted by David Ferguson

THE NICE GUYS (2016)

May 29, 2016

nice guys Greetings again from the darkness. Shane Black sold his first screenplay at a very early age which led him to become something of a phenom with the success of that film, Lethal Weapon (1987). Later, he disappeared from Hollywood for about 10 years before resurfacing in 2005 by directing his own terrific script with the immensely entertaining Kiss Kiss Bang Bang (my favorite movie of that year), and then hitting big-budget time with his script for Iron Man 3. This time, Mr. Black (directing and co-writing with Anthony Bagarozzi) returns to the detective-farcical-comedy-mystery-action genre and even adds an element of being a 1970’s period piece.

Black’s rapid-fire wise-cracks were perfect fits for Mel Gibson and Robert Downey Jr, and for this project he’s working with Ryan Gosling and Russell Crowe … both fine actors, though neither known for their comedic work. What’s clear from the beginning of the film is that both Gosling and Crowe are fully committed to the material and their respective characters. Gosling plays a boozy Private Detective and single dad who just can’t quite get things right, while Crowe plays a hired-hand bruise type – think of his Bud White in L.A. Confidential (1997), only with an extra 50 pounds (or did he borrow Eddie Murphy’s Norbit fat suit?) and a lot of miles. These two damaged boys play off each other very well, and with Black’s dialogue and visual gags, the film provides a good number of laugh out loud moments … more silly than the sophomoric humor that’s so pervasive at multiplexes these days.

Of course for comedy to really click, there needs to be some type of story to follow. In the opening scene a young boy (Ty Simpkins) watches as a car slams through his house, culminating with a “model/actress” named Misty Mountains meeting a not-so-pleasant ending. We then learn that Gosling’s Holland has been hired to find Amelia (Margaret Qualley), who bears an uncanny resemblance to Ms. Mountains – with two significant exceptions. Simultaneously, Amelia has hired Crowe’s Jackson to convince Holland to stop searching for her. Soon enough, Holland and Jackson are working together on the “case” that mixes in the Auto industry (Big 3), Porn industry, Justice Department (government conspiracies), environmental protestors, Killer Bees, LA parties, LA smog, The Waltons (John Boy), The Rockford Files, Detroit, and Richard Nixon … all hot topics in this 1977 era.

As much as the story is needed, it really doesn’t much matter. This is a movie of moments … some of them featuring funny words, while others focus on pretty astute physical comedy. Gosling (and his stunt double) provides some pretty impressive gags as he is bounced and slammed around for most of the run time. The surprising heart of the film … and moral core … is Holland’s daughter Holly played by Angourie Rice. Despite the title, she is really the only “nice guy” in the whole film, and her good-hearted nature keeps us rooting for Gosling and Crowe, despite their flaws.

Other support work comes from Matt Bomer as a “John Boy” hit man, Keith David, Lois Smith, Yaya DaCosta (quick, name another Yaya), Beau Knapp (as the toothy Blueface), Jack Kilmer (Val’s son as a “projectionalist”), and Kim Basinger (re-teaming with her LA Confidential co-star, Crowe). Also playing a significant role are the mid-to-late 1970’s vehicles, the period music and houses and décor that puts us right in the moment, and the clothes and hairstyles that are sure to inspire a chuckle or two.

Fans of Lethal Weapon and Kiss Kiss Bang Bang will surely find plenty of laughter here … despite one of the worst trailers in recent memory and even if the film is lacking the one thing it advertises – nice guys.

watch the trailer:

 

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Posted by David Ferguson

HOLY HELL (doc, 2016)

May 26, 2016

holy hell Greetings again from the darkness. David Koresh and the Branch Davidians. Marshall Applewhite and Heaven’s Gate. Jim Jones and People’s Temple. Charles Manson and The Manson Family. For most of us, this list just about sums up our insight into the world of cults … and the horrific and violent endings of each are probably the only reason we know as much as we do. Filmmaker Will Allen, and his library of archival footage spanning more than 25 years, takes us behind the scenes of The Buddahfield, a cult run by an exceedingly odd man named Michel Rostand … or Jaime Gomez … or Andreas … or Reyji … depending on what time period and location we are discussing.

The film begins in 1985 West Hollywood as Mr. Allen joins his sister in her search for enlightenment and spiritual awakening. “Why am I here?” he asks … not referring to the commune of young men and women, but rather why is he on earth – what is the meaning of life? We have all wondered if it’s simply life and death, or if there is a greater purpose. These unanswered questions are how massive churches are built … and how cults are formed. The early film footage reveals exactly what one would expect: young people frolicking in the type of freedom that comes from dropping out of society. It’s an innocence that is ripe for plucking, and that’s exactly what “The Teacher” Michel does.

Trained as a hypnotherapist, Michel is the guru who claims to possess “the Knowing” – true enlightenment and the path to God in the purest form. At this point, I should mention that Michel is seemingly always strutting around in a Speedo and Ray-Bans. If he is a man of the cloth, it’s an awfully small swatch. He also wears heavy eye-liner and strikes many pensive poses for the camera and his followers.

The last thing that I want to do is judge these followers on decisions they made early in life. Feeling lost or emotionally empty and aimless can lead to desperation. In filmmaker Will Allen’s defense, this documentary acts as personal therapy or even catharsis for his fellow cult members who judge themselves harshly for the two decades of belief in a cause and a man that ultimately proved to be something much less than spiritual. Many of these followers are interviewed on camera and are clearly struggling even years after leaving the cult. It’s not just the awareness of so many wasted years, but also the guilt in following a man who was not merely odd, but who also victimized so many.

Creepiness plays a big part here. It’s creepy how one guy can so influence the lives of so many others. It’s creepy how no one was able to expose this fraud before so many were hurt. It’s creepy to hear these folks talk about their mindset during that time. And mostly it’s creepy to view the incredible footage shot by Mr. Allen during his two decades on the inside. Lastly, the stalking (with camera) in 2012 which allows Mr. Allen to get the ending for his movie is in itself a special form of creepy … one that had me thinking that ALL of these people need psychological help.

If you want to see the internal workings of a cult (from California to Texas to Hawaii) – one with Speedos, plastic surgery, ballet, brainwashing, two kinds of peacocks – and the subsequent fallout, then you’ll agree the film delivers a type of eavesdropping and peeking that is both rare and fascinating … in a creepy kind of way.

watch the trailer:

 

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Posted by David Ferguson

DHEEPAN (France, 2015)

May 25, 2016

Dallas International Film Festival 2016

dheepan Greetings again from the darkness. Wars exist in many different forms. Some are over contested international boundaries, others are religious conflicts, while others are more personal and intimate. The stories of many refugees could be described as fleeing one type of war only to end up fighting a different kind. Such is the story of Dheepan.

Jacques Audiard is one of the most exciting filmmakers working today. A Prophet (2009) and Rust and Bone (2012) are both compelling films, and though his latest may not be quite at that level, it’s still full of intensity and personal drama. Mr. Audiard co-wrote the screenplay with Thomas Bidegain and Noe Dibre, and some of it is based on the remarkable real life story of lead actor Jesuthasan Antonythasan.

Dheepan is a Tamli soldier who is so desperate to flee Sri Lanka that he teams with a woman and young girl he doesn’t know to form what looks like a real family. By using passports of people killed during the war, the pre-fab family of three is issued visas to live in France. Dheepan gets a job as the caretaker for an apartment complex riddled with crime, violence and drugs – and learns to keep his mouth shut and eyes open.

It’s fascinating to watch these three people navigate their new life as they struggle with the language and a new culture. There are flashes of real family problems, but also the awkwardness of three whose only true bond is their escape from their previous life. Living in such close proximity means their true colors are bound to shine through no matter how much effort goes into the family façade.

Jesuthasan Antonythasan (Dheepan) and Kalieaswari Srinivasan (as Yalini his wife) are both excellent and powerful in their roles despite being so inexperienced as actors. Their exchanges are believable, as is their disparate approach to the future. Ms. Srinivasan is especially strong in her scenes with local thug Brahim, played by Vincent Rottiers.  The two have such an unusual connection … alternating between warm and frightening.

Some have found fault with the final action sequence, but it’s such a fitting turn of events given Dheepan’s past … plus the camera work is outstanding. The film won the Palme d’Or at the 2015 Cannes Film Festival, and it’s another notch in the belt of filmmaker Jacques Audiard. It’s also a reminder that we can never really escape the past.

watch the trailer:

 

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Posted by David Ferguson

LOVE & FRIENDSHIP (2016)

May 23, 2016

love & friendship Greetings again from the darkness. Jane Austen ROCKS! Sure, that might be a slightly exaggerated description of the writer who passed away almost two hundred years ago, and is known for such subtle and nuanced work as “Sense and Sensibility” and “Emma”. But it’s difficult to argue the fact that Ms. Austen’s 2016 is off to an impressive start. First came Burr Steers’ highly creative and entertaining Pride and Prejudice and Zombies, and now Whit Stillman delivers a cracking version of her (apparently) unfinished novella “Lady Susan”.

Thanks to the standout performance from Kate Beckinsale, and the manner in which words from Austen and Stillman go zipping by (sometimes honestly, sometimes not), this is one fun and briskly-paced romp … more descriptions not typically associated with the prim Ms. Austen. Ms. Beckinsale as Lady Susan Vernon flashes spunk and comedic timing that we have not previously seen from her. She fits marvelously in the dress of the late 1700’s, while packing a diabolical and manipulative nature more often displayed in contemporary settings.

The supporting cast seems to be having a marvelous time. Chloe Sevigny is Alicia, Lady Susan’s confidant and gossip buddy … and one whose husband (Stephen Fry) continually threatens to ship back to Connecticut (as if it were the coal mines or outback). Emma Greenwell is Catherine DeCourcy Vernon, adversary and sister-in-law to Lady Susan, and Mofryd Clark plays Frederica, Susan’s somewhat mousy and inconvenient daughter.

Though the women are standouts here, the men hold their own. Xavier Samuel is Reginald DeCourcy, the somewhat naïve and susceptible-to-advances-from-Susan young man, and Tom Bennett manages to steal most every scene as the quite silly and funny (and wealthy) Sir James Martin. Adding their own special touches are James Fleet and Jemma Redgrave as Sir Reginald DeCourcy and Lady DeCourcy, respectively; and Jenn Murray as Lord Manwaring … one of three suitors to Lady Susan.

This spoof/parody will strike a chord for anyone accustomed to the uptight nature of most period pieces, as well as the importance of status, decorum and the corresponding insecurities (a weakness the cunning Lady Susan will most certainly seize upon). Mr. Stillman (Damsels in Distress, The Last Days of Disco) is an immensely talented writer, and certainly a welcome complement Ms. Austen’s posthumously published work.  It’s a deliciously funny and intricate story that features such quips of gold as “Facts are horrible things.” Welcome to the zany verbal barrages of Lady Susan, Whit Stillman and Jane Austen. Yep … zany and Jane Austen in the same sentence.  I told you she ROCKS!

watch the trailer:

 

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Posted by David Ferguson

MONEY MONSTER (2016)

May 15, 2016

Money Monster Greetings again from the darkness. Adam McKay and Michael Lewis sought to educate us on the corruption and deceit within the marrow of the financial world in The Big Short. Director Jodie Foster and three writers (Jim Kouf, Alan DiFiore, Jamie Linden) scale things way back to show the effects on a single, working class man … and how Wall Street and the media conspire to make it hard on us little guys.

George Clooney stars as Lee Gates, a Jim Cramer type cable news financial guru … the kind of media star who makes an Apollo Creed style entrance (complete with “dancing”) for each segment. Julia Roberts plays Patty, the show’s ultra-talented producer, and the one who keeps Gates and the show from flying off the rails. It’s just another typically hectic day in the studio, when the show is abruptly interrupted by a man who charges the stage pointing a gun at Gates. Kyle (Jack O’Connell, Unbroken) has a few things to get off his chest, and makes it clear that he blames Gates for a recent financial loss … and he expects some answers.

It turns out that Gates had presented a recent investment as a sure thing, and Kyle believed him. When that company lost $800 million overnight, Kyle’s loss was his $60,000 nest egg. Kyle represents the work-class folks who are simply fed up with the lies and manipulation for which the media and Wall Street seeming conspire on a regular basis.

It’s Jodie Foster’s first directorial outing since The Beaver (2011), and she seems at home with a straight-forward hostage-for-admission story. Created for a mass audience (no segment or issue goes too deep), there are snippets of Clooney and Roberts humor that will satisfy their fans. The three most interesting characters are the gun-wielding, end-of-the rope Kyle; his pissed-with-a-twist girlfriend played by Emily Meade (who provides the film a lift when it’s needed); and Caitriona Balfe as Diane Lester, the communications officer for the evil corporation at the heart of the swindle.

As with so many things these days, the hostage ordeal plays out on TV and captures the limited attention span of average Americans … heck, the film even references the OJ Simpson event. Of course, this film isn’t an instigator, but rather an exhibitor – a mirror of the times. Once the spectacle ends, everyone returns to their normal activities.

Since this thriller really only offers a few moments of real suspense, viewers might have more fun spotting and identifying the multitude of cable TV faces sprinkled throughout. The 1970’s were the era for extraordinary conspiracy movies, and this one is less Network or Chinatown, and more like Phone Booth or John Q. ‘Forget it Kyle. It’s Wall Street (and cable news).’

watch the trailer:

 

 

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Posted by David Ferguson

WEINER (doc, 2016)

May 14, 2016

Dallas International Film Festival 2016

Weiner Greetings again from the darkness. Normally I would have no interest in a movie with this title, but in this case, it’s a chance to get a glimpse into the psychological make-up of a guy who obliterated his own political career … by simply being unable to keep his privates private. The end result of the efforts from filmmakers Josh Kriegman and Elyse Steinberg is nearly unrestricted access to a NYC mayor candidate’s campaign, as well as a look at a politician that is at times tense, and other times funny (in a laughing AT you kind of way).

In 2011, seven-term New York Congressman Anthony Weiner resigned in the aftermath of a sexting scandal made worse by (what else?) … his lying and attempted cover-up. The film begins with a clip of one of Weiner’s explosive speeches, meant to portray his expertise as a legislator and politician. This is quickly followed by the pun-filled headlines that exposed his sexting habit, seemingly leaving his political career in the dust.

Picking up two years later, the film finds the disgraced former Congressman running a campaign for NYC mayor. We can’t be too surprised as we have learned numerous times that many politicians are addicted to power and life in the public eye. What makes this an interesting subject is two-fold: how publically humiliated Weiner had been, and the fact that his wife is Huma Abedin, long-time Hillary Clinton advisor and aide.

We don’t learn how it happened, but we do find Anthony and Huma are still married, are parents to a young child (she was pregnant when the first scandal hit), and that Huma fully supports his mayoral candidacy. As the campaign kicks off, Weiner is a frontrunner, proving that we are a forgiving lot. The cameras capture him in full candidate mode – making calls to potential donors, giving speeches, dealing with staffers, and working the crowds at his energy-filled parades. Of course, it’s all a façade … or at least half of one.

When the second sexting scandal hits and “Carlos Danger” makes headlines as Weiner’s online pseudonym, the real trainwreck begins, and we find it impossible to turn away. It’s at this point where our feelings are confirmed … Huma is by far the more interesting of these two personality polar opposites. Where Weiner is two-faced – bouncing between humbled and overly ambitious; Huma is cool, collected and (seemingly) smart.

Weiner remains clueless about his chances, and the level of tension skyrockets in meetings and during spousal moments. It’s impossible not to believe that the energies used towards the campaign would have been better spent in therapy – both individual and as a couple. His stream of lies proved he had not changed his ways, and his periodic reflective and apologetic moments are diminished by his true color nastiness, which is more pervasive.

The film gets unnecessarily sidetracked during a segment that features one of Weiner’s phone sex relationships – codenamed “Pineapple”. Entirely too much time is spent on her pathetic publicity grab, and fortunately it all falls flat. It is a reminder that the media never misses a chance to film a frenzy … even if they have to manipulate it. There is no room in a documentary for TWO trainwrecks!

After the film and the irresistible draw of watching this ego-driven dude never once come to grips with why he is socially unacceptable as a leader, we realize there are unanswered questions. Why did Huma stick with her husband? Why was she onboard with him getting back in the game … did she really miss the public eye? The filmmaker flat out asks Weiner “Why have you let me film this?” Perhaps the answer to that last question is somewhat explained when you know that Anthony Weiner made an appearance in Sharknado 3. Some people just need the spotlight.

The hecklers, the eye rolls, the angry outbursts all lead up to Lawrence O’Donnell asking Weiner “What’s wrong with you?” I asked myself that same question after the movie when I realized that I was mesmerized the entire time. As for Huma ever allowing herself to be the subject of a documentary, we can only assume that she is too sagacious to allow such unfettered camera access to her work. I suppose her appearance in the next “Sharknado” is equally unlikely.

watch the trailer:

 

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Posted by David Ferguson

HIGH-RISE (2016)

May 12, 2016

Dallas International Film Festival 2016

high rise Greetings again from the darkness. When a novel has been deemed “unfilmable” for forty years, perhaps the designation should be honored, rather than accepted as a challenge. That said, there is probably a cult-like movie lurking somewhere in and around director Ben Wheatley’s (Kill List, 2011) personal spin on the 1975 novel from J.G. Ballard (who also penned “Crash” and “Empire of the Sun”).

Amy Jump adapted the screenplay from Ballard’s novel, and in the blink of an eye, the tone shifts from a microcosm of a decaying society and class warfare to all-out anarchy and hedonism. What’s fascinating is that the talented cast nearly rescues the film from the misguided script. Tom Hiddleston stars as Dr. Laing, a physiologist who moves into the futuristic (for the 1970’s) monolith, seemingly naïve to the wicked ways of this insular community. Sienna Miller plays Charlotte, a fellow middle-class resident, who not only crushes on Laing, but also seems to know where the skeletons are buried. On the Terrace level, the always entertaining Jeremy Irons plays Royal, the building’s architect and overseer … a kind of great and powerful Oz. An unrecognizable Luke Evans (out of his usual pretty boy mode) is stellar as the aptly named Wilder, a documentary filmmaker who adds a dose of skepticism towards the building – in contrast to Laing’s innocent approach.

Beginning at the macabre ending, the film then flashes back to “3 months earlier” as Laing first moves into the building. This device is the only semblance of time provided throughout. We witness how quickly Laing takes to the sport of social climbing, buddying up to Royal, and joining in with the communal decadence.

Power outages, orgies, class warfare and enough cigarettes to qualify as a non-smoking PSA, the film seems intent on ensuring viewers remain disoriented as to the reasons for mass chaos. The building itself could be considered a character, and certainly the use of mirrors and a kaleidoscope makes a statement … even while we hear multiple versions of Abba’s “SOS”. Black comedies typically make the best cult movies, and though this one is filled with aberrant and deviant behavior, it’s somehow not quite twisted enough … or at least not properly twisted for viewer fun. Beyond that, it comes across as an expression of filmmaker anger rather than the commentary on British infrastructure that Ballard intended.

**NOTE: I’m sure the similarities of the movie poster to that of Kubrick’s A Clockwork Orange is no coincidence, although that’s a pretty ambitious stretch for High-Rise.

watch the trailer:

 

 

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Posted by David Ferguson

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