HONKY TONK HEAVEN: LEGEND OF THE BROKEN SPOKE (doc, 2016)

May 1, 2016

Dallas International Film Festival 2016

honky tonk Greetings again from the darkness. “The last of the true Texas dance halls and damn sure proud of it.” If you have ever stepped booted foot into The Broken Spoke on South Lamar in Austin, you have likely heard silver-tongued owner James White rattle off this intro. Co-directors Sam Wainwright Douglas and Brenda Mitchell deliver the ultimate tribute … actually a good old fashioned love letter … to this iconic Austin landmark.

At its core, The Broken Spoke is about the music and the dancing, but since Mr. White (built and) opened the doors in 1964, it’s now part of Austin and country music history. Over those 50 years, George Strait played in the house band, Willie Nelson sang with short hair and no beard, Bob Wills actually showed up for his gig, and that low-rise stage under a low-hanging roof has been played by a ‘who’s who’ of performers (Jerry Jeff Walker, Gary P Nunn, Ray Benson, Roy Acuff, Ernest Tubbs) … all under the loving care of Mr. White.

The real story goes beyond music. It’s the family business run by James and Annetta White, and their daughters who were raised under the leaky roof as the dancing couples waltzed their way around the oval floor. One of the daughters now teaches newcomers how to 2-step, while the other hand-stitches each rhinestone onto Daddy’s signature glitzy western shirts. Annetta can be found pouring drinks from behind the bar or cooking up a batch of chicken fried steak from her own recipe … she says “napping makes you lazy”. Husband James makes the nightly rounds greeting customers, and even occasionally joining the band for a song. Theirs is a family and business success and these two deserve every bit of respect that industry insiders and loyal customers offer up.

As Mr. White parks his immaculate white classic Cadillac under the giant oak tree, it provides the perfect visual for his earlier statement that The Broken Spoke took off once the hippies and rednecks realized they shared common ground with dancing to country music. While urban creep threatens the “old” Austin feel, it only takes Dale Watson’s colorful description of the difference between a honky tonk and a dance hall, to bring it right back.

You probably don’t want to ask Mr. White for a recommendation on a local roofer, and you best remember the house rule … “Don’t stand on the dance floor!” What the film does is answer the question “Where did you come from?” and has us dreading the day when we ask “Where did you go?” about The Broken Spoke.

film website:

http://www.brokenspokefilm.com/

 

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Posted by David Ferguson

THE ANTHROPOLOGIST (2016)

May 1, 2016

Dallas International Film Festival 2016

anthropologist Greetings again from the darkness. Following an anthropologist around for 5 years will either sound interesting to you or not. The hook here is that the filmmakers draw a parallel between acclaimed anthropologist Margaret Mead and her granddaughter Mary Catherine Bateson, and modern day anthropologist Susie Crate and her teenage daughter Katie.

It’s unclear how the three co-directors – Seth Kramer, Daniel A Miller, Jeremy Newberger– split the duties or shared contributions in telling this story over 5 years, but we follow Susie and Katie to Siberia, Kiribati (South Pacific), Peru, and Virginia. We witness how the melting permafrost is destroying wheat fields and slowly starving out communities. We watch as Susie goes glacier ice gathering in the Andes, and how the local community bonds over the haul.

One of the director’s half-jokingly referred to the film as the “Coming of Age Climate Change comedy” … saying that’s their pitch as they push for distribution. While that’s a catchphrase of which to be proud, I didn’t find much humor here. In fact, as Katie ages from 14 through 18 during filming, I found her to be a bit of a drag on the pacing of the film … not nearly as interesting as she seems to find herself. Clearly her mother is a dedicated and intelligent professional, but the mother/daughter theme came across a bit forced.

The film informs us that anthropology is the study of learned behavior which defines different cultures. Most of what they do is observe and record different cultures, and the changes that occur. There is also Susie’s observation, “we don’t change the world, we change ourselves”, which is quite a profound thought from someone in her line of work.

 

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Posted by David Ferguson

MAGALLANES (Peru, 2016)

April 30, 2016

Dallas International Film Festival 2016

magallanes Greetings again from the darkness. What a compelling neo-noir quasi-crime thriller from first time director (and long time Peruvian actor) Salvador del Solar. The story is based on Alonso Cueto’s novel “La Pasagera”, and while it’s anchored by a terrific performance from Damian Alcazar, there are numerous twists, turns, and intense sequences.

Mr. Alcazar plays Magallanes, a former Army soldier now struggling to earn a living as a freelance taxi driver in the city of Lima. He has a second job as driver and part-time caretaker for his former military commander (played by Federico Luppi), who now suffers from Alzheimer’s disease … though to what extent plays a role throughout.

One day Magallanes picks up a passenger whom he immediately recognizes. When she exits the taxi, his breathless anxiety is a powerful moment. We slowly learn that the woman is Celina (the stunning Magaly Solier), and there is a dark and horrific secret that binds these two to the colonel.

Watching the numerous story lines unfold is a nerve-racking movie-going pleasure, as secrets and pain and struggles abound. Celina is close to losing her salon and is being pressured by a tyrannical loan shark – a rare cinematic female role absent any empathy. Secrets and circumstances being what they are lead Magallanes to plan blackmail against the colonel’s wealthy doctor son (Christian Meier). To say that nothing goes according to plan is a bit of an understatement.

The brilliance of the story is that we find ourselves pulling for Magallanes right up until the moment when we can’t possibly forgive him his transgressions … any more than Celina can. More than an example of the jumbled mess of war and terrorists, the film is a wonderful observation of human nature and how we often rationalize our worst actions to the point of delusion of our own goodness. No matter how hard we try to put things behind us, the bad choices are always there. Some sins just cannot be washed away, and redemption is not always possible. In the words of the characters … “well, that’s football.”

watch the trailer:

 

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Posted by David Ferguson

A TALE OF LOVE AND DARKNESS (2016)

April 30, 2016

Dallas International Film Festival 2016

a tale of love and darkness Greetings again from the darkness. The establishment of the state of Israel and the memoir of Amos Oz are the foundation of the feature film directorial debut of Natalie Portman. First time directors don’t typically fight over such source material, but it has always seemed that Ms. Portman was headed towards bigger (and more important) things.

She was born in Jerusalem and this story opens in that city during 1945. The narrator is the elderly Amos and the story is told through the eyes of young Amos (a very effective Amir Tessler) … though the focus is on his mother Fania (played by Ms. Portman).

The tensions between Jews and Arabs are ever-present, but this is the mostly personal and intimate struggle of Fania and her family. She has survived the atrocities of the Holocaust, though many of her family and friends did not. In fact, her inability to overcome this past and adjust to the new world is what has the biggest impact on young Amos and his scholarly father Arieh (Gilad Kahana). Amos soon figures out that the litmus test for his mother’s mood is whether she is telling stories of the old days, or staring blankly into a void.

Watching someone fade away and experience death by depression/disappointment/unfulfilled dreams goes so against what we typically see on screen – the emotionally strong and heroic types. Portman’s performance makes it believable, but no less difficult to watch … for us or young Amos.

The film is well shot and well acted, and much more is conveyed through faces and movement than spoken words … somewhat unusual for the recollections of a writer. The color palette and the silence dominate many scenes, and it seems appropriate given the situation of this family. Expect to see many more projects from director Portman, as she obviously has much to say.

watch the trailer:

 

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Posted by David Ferguson

THE MASTER CLEANSE (2016)

April 30, 2016

Dallas International Film Festival 2016

master cleanse Greetings again from the darkness. Sometimes, it’s just difficult to know how to describe or discuss a movie. This happens more frequently at film festivals where the most creative and risky films often find their only audience. This first feature film from writer/director Bobby Miller isn’t really a comedy – though there are some uneasy laughs; and it isn’t really a horror film – though isolated cabins in the woods and creepy little creatures give the impression that it could go that way.

Johnny Galecki (“The Big Bang Theory”) stars as Paul, a down-on-his-luck nice guy who hasn’t recovered emotionally from being dumped at the altar by his fiancé. One night he’s dozing on the sofa when a TV ad captures his attention … it’s a spiritual retreat for the downtrodden!  The timing couldn’t be better.

He’s joined at the isolated retreat by struggling actress Maggie (Anna Friel), a young couple, Eric (Kyle Gallner) and Lily (Diana Bang) working through relationship issues, and a quasi-caretaker and holdover client played by Kevin J O’Connor. The on-site leader is played in full-bellow mode by the great Angelica Huston.

Day one is the juice cleanse, and the participants have to force down a disgusting concoction designed to “eliminate” … the step preceding “termination”. Elimination is pretty easy to figure out, as our new friends expel from both ends (fortunately this is mostly implied, not shown).  While that part might be expected, the surprise comes in the form of the eliminated creatures unique to each of our players … little critters representing the emotional baggage we all carry inside.

In the midst of misery, the retreaters are told that the movement (no pun intended) leader (Oliver Platt) will be arriving soon. He’s kind of a cult-like figure without the expected pretentiousness. In fact, he’s a pretty nice guy that seems to really care. Of course, that would be a pretty boring story, so plenty of things go awry during the process.

“Let’s Get Pure” is the name for the retreat, and the idea of physically removing our negative energy and emotional baggage does make some sense. Director Miller seems to blend the worlds of early David Cronenberg and Gremlins to deliver an odd little film that could develop a cult following of its own. It’s a serious message conveyed in a not so serious way. Galecki and Friel do a nice job of keeping us grounded and giving us some peeps to pull for.  Just watch that final step … termination can be brutal.

 

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Posted by David Ferguson

THE MAN WHO KNEW INFINITY (2016)

April 30, 2016

USA Film Festival 2016

man who knew infinity Greetings again from the darkness. When one imagines the most exciting topics for movies, mathematics tends to fall pretty far down the list. Heck, most students only take math classes because they have no choice, so why should anyone be interested in the story of a young Indian man who revolutionized the mathematics world at Trinity College in Cambridge in the early 20th century?  The reason is that Srinivasa Ramanujan’s personal story is about more than numbers … it’s about faith and passion and overcoming life’s obstacles.

The story also has an intriguing by-product of demonstrating the difference between intelligence and genius. Trinity College at Cambridge was staffed by some of the smartest, best-educated professors on the planet when this self-taught odd young man appeared with ideas and notebooks filled with equations and concepts that most couldn’t even fathom, much less accept.

Dev Patel plays Ramanujan, the spirited man from Madras India who accepted his remarkable talent as a gift from God. His initially difficult relationship with Trinity Professor GH Hardy (Jeremy Irons) was a clash of two men whose passion for math far eclipsed their comfort in the real world. Hardy was a bit of an outcast at the university, while Ramanujan struggled to provide for his new wife, and had little patience for those who doubted his work.

Writer/director Matt Brown doesn’t seem to believe that the relationship between these two gentlemen is strong enough to hold a mainstream audience, so he commits what comes across as an excessive amount of time to the long-distance battles of the wife and mother of this genius. On the math side, Mr. Brown doesn’t allow us to get lost in minutiae of math equations, but also misses the mark on just how groundbreaking and extraordinary Ramanujan’s work was. There is little doubt that the story of genius, when combined with the abrasive mentorship, racism, elitism and health challenges provides more than enough material to keep us glued to the screen. The rest is merely distracting.

Strong support work is provided by Toby Jones (as Littlewood), Stephen Fry, and Jeremy Northam (as Bertrand Russell), but it’s Patel and Irons who carry the weight here. It’s especially rewarding to see Irons as a co-lead again. There have been other popular math movies like A Beautiful Mind, Good Will Hunting, and Proof, but it’s The Theory of Everything that seems to have the most in common with the story of Ramanujan and Hardy. So give it a shot … and remember to show your work!

watch the trailer:

 

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Posted by David Ferguson

LOUDER THAN BOMBS (2016)

April 29, 2016

louder than bombs Greetings again from the darkness. Sometimes we just can’t “get over it”. Three years after a war photographer dies in a suspicious car accident, her husband and two sons find themselves in various states of emotional distress. Everyone deals with guilt in their own way, but these three seem to be doing anything and everything to avoid actually dealing with the emotional fallout.

Writer/director Joachim Trier (Oslo, August 31) delivers his first English-speaking film with an assist from co-writer Eskil Vogt and a terrific cast. As we would expect from Mr. Trier, it’s a visually stylish film with some stunning images … and the timeline is anything but simple as we bounce from past to present, and from the perspective of different characters (sometimes with the same scene).

The creativity involved with the story telling and technical aspects have no impact whatsoever on the pacing. To say that the film is meticulously paced would be a kind way of saying many viewers may actually get restless/bored with how slowly things move at times. Trier uses this pacing to help us experience some of the frustration and discomfort that each of the characters feel.

Isabelle Huppert plays the mother/wife in some wonderful flashback and dream-like sequences, while Gabriel Byrne plays her surviving husband. Jesse Eisenberg as Jonah, and Devin Druid as Conrad are the sons, and as brothers they struggle to connect with each other … just as the father struggles to connect with each of them. In fact, it’s a film filled with characters who lie to each other, lie to themselves, and lie to others. It’s no mystery why they are each miserable in their own way. The suppressed emotions are at times overwhelming, and it’s especially difficult to see the youngest son struggle with social aspects of high school … it’s a spellbinding performance from Devin Druid (“Olive Kitteridge”).

Jesse Eisenberg manages to tone down his usual hyper-obnoxious mannerisms, yet still create the most unlikable character in the film … and that’s saying a lot. Mr. Byrne delivers a solid performance as the Dad who is quite flawed, and other supporting work is provided by David Strathairn and Amy Ryan. The shadow cast by this woman is enormous and deep … and for nearly two hours we watch the family she left behind come to grips with her death and each other. It’s a film done well, but only you can decide if it sounds like a good way to spend two hours.

watch the trailer:

 

 

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Posted by David Ferguson

DALLAS INTERNATIONAL FILM FESTIVAL 2016 recap

April 25, 2016

DIFF2016 It’s Monday April 25th … the day after the eleventh of eleven days of the 10th Annual Dallas International Film Festival. My eyes and rear end are in recovery mode. I am 18 reviews behind – a situation that normally causes major anxiety; however, rather than sweating the mountain of writing on my “to do” list, I am instead reflecting on the more than two dozen movies that made up my weekends and post-work evenings over the past week and a half … as well as the horrible tragedy that shook the local movie community.

This past Friday evening, while on his walk back to the Angelika Theatre after attending the DIFF Awards ceremony at The Highland, local movie blogger Gary Murray was struck and killed by a hit-and-run driver who ran a red light. I didn’t know Gary well, but it was obvious we shared a passion and love for movies. His is a tragic and unnecessary loss, and one made worse by the cowardice of someone who cares so little for others, that stopping to take responsibility was secondary to their own well-being. A good life stolen by a despicable one.

The DIFF management group demonstrated their class by including a tribute to Gary prior to each screening on Saturday and Sunday.

For the festival, the movie lineup was one of the deepest I can recall. There seemed to be only one entry that most agreed was a true clunker, and even that one was placed in the “Maverick” category – a group of films that can best be described as experimental or highly creative and outside the box.

Short films, documentaries, narratives, animation, Texas-based films, Maverick directors, Latino showcase, World films, Family friendly flicks, Student films, parties, celebrities and filmmakers … the festival has something for everyone. The lineup is designed to expand our boundaries just a bit – take in something that we wouldn’t normally give a chance, or even more likely, never have the opportunity to see. Not many do this better than DIFF, and in fact, it’s simply a well-run festival with wide-ranging films, friendly volunteers, and a schedule that works (with a shout-out to the Angelika Film Center and Alamo Drafthouse).

The list of winners is available at www.dallasfilm.org and for anyone looking to attend next year, I’d be happy to offer some tips … protect your eyes and your “seat”.

DIFF2016 c

 

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Posted by David Ferguson

IN PURSUIT OF SILENCE (doc, 2016)

April 25, 2016

Dallas International Film Festival 2016

 

in pursuit of silence Greetings again from the darkness. “Silence is a sound of many qualities.” Director Patrick Shen explores this sentiment as he reminds us what an important role silence (or at least quiet) can play in our lives.

There are many interviews and insights from experts (like author George Prochnik) … each in agreement that the benefits to silence are many. To be clear, we are speaking to the silence associated with things like rustling leaves, flowing water, and rolling waves. We are talking about the process invoked in Japanese Tea Houses, and the steps for meditation.

We are informed that silence has a positive influence on four areas: Physiological, Psychological, Cognitive and Physical. In fact, deep forest walks are used as treatments and prevention, and have shown signs of improving immune systems.

Most of us have noticed how uncluttered our mind becomes as we relax by the shore or on a mountain. Mr. Shen’s film has plenty of quiet time around the interviews, and even in a movie theatre, these peaceful times have quite an impact.

The point is made that we have substituted technology for human interaction … even in place of interaction with our own self. We have left only the tiniest space for reflective thought … the kind of thought that reduces stress and results in clarity within life.

For those who have never experienced it, the film offers a display of composer John Cage’s infamous 4’33” (4 minutes, 33 seconds) piece with three movements … each with complete silence from the orchestra. The idea sprang from his Zen lessons, and now for more than 60 years has been startling audiences into a pleasant state of appreciation. The film drives home the point that we should all find time to quiet our soul.

 

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Posted by David Ferguson

SING STREET (2016)

April 20, 2016

DALLAS INTERNATIONAL FILM FESTIVAL 2016

sing street Greetings again from the darkness. The vast majority of 1980’s music usually inspires nothing but groans and an immediate change of the radio channel from me. Yet writer/director John Carney masterfully captured and held my attention with this crowd-pleasing story that leans heavily on the tunes from that era.

Mr. Carney was also responsible for two previous music-centric movies, Once (2007) and Begin Again (2013). He is an exceptional story teller who puts music at the center, but avoids the label of “musical” by making it about people, rather than notes.

It’s 1985 in economically depressed Dublin, and a strong opening sequence introduces us to Connor (Ferdia Walsh-Peelo) as his ever-arguing parents (Aidan Gillen, Maria Doyle Kennedy) inform him of the economic necessity of pulling him out of prep school and enrolling him into a much tougher environment … one that comes with bullies and hard-nosed teachers/clergy.

Soon enough Connor is hanging with the misfits and inviting an enchanting “older” girl to star in his band’s video. She agrees, and wide-eyed Connor quickly sets out to form a band that didn’t previously exist.

There are two interesting and fully realized relationships that make this movie click: Connor and the enchanting Raphina (Lucy Boynton), and Connor and his older brother Brendon (Jack Reynor). Brendan is Connor’s life mentor and music guru. They are quick to jump on the new world of music videos, and it’s a real hoot to watch Connor emulate the style and fashion of Duran, Duran, The Cure, etc.

It’s fascinating to note that Connor, while a pretty talented lyricist and singer, doesn’t really seem to be in love with the music except as a means to an end … a way to get the girl. That said, the real message here is that while teenagers often feel like they can’t fix the outside world (parents, teachers, bullies), they can fix themselves by finding a passion in life (the movie uses the term vocation).

It’s hard not to notice the influence of such filmmakers as John Hughes and Cameron Crowe, and Carney certainly brings his touch of romanticism. Plus, one must appreciate any movie that delivers an original song as catchy as “Drive it like you Stole it”, while also taking a shot at Phil Collins. It’s a funny and sweet movie that should really catch on through positive word of mouth.

watch the trailer:

 

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Posted by David Ferguson

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