CITY OF GOLD (doc, 2016)

March 12, 2016

city of gold Greetings again from the darkness. “First we eat. Then we do everything else”. Filmmaker Laura Gabbert’s film kicks off with that quote from MFK Fisher, author of “The Art of Eating”. If Ms. Fisher looked at eating as art, then Jonathan Gold views it as a crucial piece of society that brings diverse cultures together.

As the subject of the film, Mr. Gold is a pretty interesting character. Sure, he is a food critic for the LA Times, an author and a Pulitzer Prize winner; but, more than that, he is a man of the streets of Los Angeles, and is described as providing a new vision of the city while also changing the food critic world. He spurns the traditional idea of anonymity that typically cloaks food critics, and mostly ignores the hoity-toity French restaurants for the Taco Trucks and mom & pop joints scattered around LA.

The real core of the story and of Mr. Gold is the cultural diversity that exists within the boundaries of an area that most TV shows and movies would have us believe is sterile, white and rich. The reality is that LA is a conglomerate of cities filled with migrants who have brought their culture, talents and especially their diverse homeland cuisine. Gold relishes the chance to explore every “hole-in-the-wall” … taste their food and learn their story. He takes us through Boyle Heights, Hollywood, the San Gabriel Valley and the full 15 mile stretch of Pico Blvd.

As a reporter, Gold struggles with structure and deadlines, but as a writer his words are as tasty as the food of which he writes. In a day where Yelp and Twitter allow everyone to pretend they are an expert, Gold reminds us of the value real critics bring to a topic … experience, knowledge and a descriptive way with words.

The film gets a bit loose in the second half as director Gabbert tries to cram in all there is to know about Gold. His background with music: cello, classical, punk, blues and hip-hop probably get more time than is necessary. The contrast with his environmentalist brother is worth it for no other reason than hearing the line: “he is eating everything I’m trying to save”.

Gold’s legacy will be the culinary map of the region he has created with his work. He encourages us not just to sample new cuisine, but also to better understand the people that make up one of the most diverse and fascinating metropolitan areas in the world. Now how about a taco?!?!

watch the trailer:

 

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Posted by David Ferguson

Lolo (France, 2016)

March 12, 2016

lolo Greetings again from the darkness. The old saying “opposites attract” is on full display in director and co-writer Julie Delpy’s latest, as she offers up a twist on the French farce by adding a dark undercurrent. Additionally, the film addresses the personal and societal challenges facing women in their 40’s who are successful in their career, and who also hold out hope for finding true love.

Ms. Delpy also stars as Violette, a germaphobe divorcee who works in the fashion industry in Paris. The film opens as Violette and her best friend Ariane (Karen Viard) are deep into girl-chat while hanging out at a spa … each annoyed that they are without a soul mate that would complete their lives (or at least fill the sexual void).

After dumping a freshly caught tuna in Violette’s lap (as they meet for the first time), and then informing her that he understands she’s not his type … you know, since she is a lesbian (which she is not) … Jean-Rene (Dany Boon) re-groups and begins charming her with his grounded and simple nature. These two form a cute, but odd couple of opposites and seem to very much enjoy each other’s company.

Things start to get confusing for the couple when her 19 year old son Lolo (Vincent Lacoste) begins his (initially) subtle clandestine activities designed to break up the couple. Soon enough we realize this wannabe artist goes well beyond typical passive-aggressive activities, and straight into full-on psychotic mode with Oedipal tendencies. His psychological warfare against Jean-Rene slowly builds from childish antics, to deceitful and devilish scheming, to downright criminal … all with a sense of black comedy for us viewers (can’t say the same for Jean-Rene).

Other movies such as Cyrus and We Need to Talk about Kevin have dealt with the mother-son relationships ranging from creepy to dangerous, but Delpy’s movie always hits us with a dose of laughter when it’s needed. The use of the movie classic Village of the Damned (1960) is especially spot on as Violette and Jean-Rene continue to plug away as a couple … even when it’s obvious to us that 3 is too many for a healthy relationship – especially when one could be a reincarnation of Damien from The Omen.  The perfect ending reminds us that no one beats the French when it comes to a farce; even when the darkness is sprinkled on a bit heavier than usual.

watch the trailer:

 

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Posted by David Ferguson

GORED (doc, 2016)

February 29, 2016

gored Greetings again from the darkness. Opinions of bullfighting seem to fall into three categories: those who admire the courage and athleticism of the matadors, those who respect the history and tradition so vital to the culture of some, and those who are outraged and disgusted by the cruelty bestowed upon the bulls. Director Ido Mizrahy and his co-writer Geoffrey Gray seemingly take no stance, and make no effort in manipulating anyone’s feelings toward bullfighting. Instead, their focus is on one man. A man with an inner-drive that even he can’t explain.

Antonio Barrera is billed as the most-gored matador in history. His official 23 times is remarkable when you consider that even once can kill a man … or at least destroy the bravura required to enter the ring. But this is not a story of numbers. It’s about Barrera’s relentless drive and passion for bullfighting, and his inexplicable (and sometimes medically impossible) ability to recover from injury and finish his duty. Once he was intubated due to lack of breathing, and as soon as he regained consciousness, he ripped out the tubes and returned to the ring … directly from the table.

Mizrahy “treats” us to more than enough clips of Barrera being gored and carried from the ring, but the most intimate and revealing moments come courtesy of interviews with Barrera’s wife, sister and father. It’s during these segments that we begin to understand that no logic can explain the matador’s need to enter the ring … or return to the ring. His wife explains how she lives in fear while understanding she is not his first love; his sister discusses his youth and early training, while his father’s inability to fulfill his own dreams probably etched in stone the destiny of the son.

The film opens and closes with Barrera’s final performance in December 2012, and it’s a breath-taking sequence featuring his crowd-pleasing Puerto Gayola – he kneels in the ring in front of the charging bull. Barrera muses on the acceptance that one must be ready to die while in search of the perfect performance, and how thoughts of dominating death seem like crazy thoughts to the rest of us.

It’s unfortunate that the film only offers a quick glimpse into Barrera’s post-matador life. It’s a brief mention of feeling “lost” after walking away from his dream, and wondering (like the rest of us mortals), what is his dream now? It’s clear managing the career of another matador does not fill the void, but we are left empty-handed and wanting to know more about Antonio Barrera … the former matador known not for his grace and elegance, but for his passion and courage.

watch the trailer:

 

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Posted by David Ferguson

MAJOR LEAGUE LEGENDS – The Smithsonian Channel (2016)

February 27, 2016

Major League Baseball and the Smithsonian Channel have teamed up to deliver a four-part series entitled “Major League Legends”:

February 29: “The Hammer of Hank Aaron”

March 7: “American Hercules: Babe Ruth”

March 14: “Lou Gehrig: Iron Knight”

March 21: “Ted Williams: The Immortal”

Major League Legends For us fans who have baseball history and lore as part of the fabric of our soul, we can’t help but be excited to see what happens when Smithsonian turns their attention to four legendary figures from the game we love. The result is an unusual approach that blends psychology, mythology, history, and childhood with sports achievement. Rather than the typical highlight reels punctuated with record-breaking statistics, we are instead treated to an analysis of what drove these four men to reach a level that transcended the game.

Since Henry Aaron is the only living member of this foursome, it’s especially compelling to see him interviewed and reminisce about his childhood poverty, run-ins with the Ku Klux Klan, skipping school to hear Jackie Robinson speak, and rocketing through the Nego Leagues and Minor Leagues to reach the Major Leagues by age 20. He even mentions how his father reacted when young Henry mentioned his dream of being a pilot. Much attention is given to the racism, hate mail and threats the Aaron family endured during his pursuit of the Home Run record, and it’s sobering to hear his wife Billye state “you just learn to cope”. This segment is a reminder of just how Aaron changed the world through his dignity and courage.

In what easily could be interpreted as Aaron’s polar opposite, Babe Ruth became a larger than life figure and the first modern day celebrity athlete. However, the story is never that simple. Ruth was basically a neglected kid until age 6 when Brother Matthias became a father figure at St. Mary’s Institutional School for Boys. Ruth’s prowess on the field is truly legendary, and it seems logical that his starting out in life as an unloved child possibly drove him to seek as much attention and fame as possible. This segment features some terrific photographs and clips, as well as the man and the myth.

With an incurable and devastating disease using his name for more than 75 years, Lou Gehrig is often described as the shyest and most courageous of all sports superstars. He was the wholesome All-American boy with the irrepressible work ethic. Imagine being known for never missing a day of work! A childhood of poverty and an unusually close relationship with his mother laid the foundation of a man who was focused on being the best ballplayer he could be. The personality opposite of his teammate Ruth, it was Gehrig whom the parents hoped their sons would grow up to be like. His is a story of motherhood-baseball-America-loyalty-humility- grace-endurance, and as recently as last year, ALS (Lou Gehrig’s Disease) inspired millions to participate in the Ice Bucket challenge to raise money for research. It’s little wonder why Gehrig was the first player to ever have his jersey number retired.

The greatest hitter who ever lived. A fighter pilot who served in two wars. Elected to three Halls of Fame: baseball, fishing and fishing. Ted Williams has been described as a baseball savant, but it’s likely his superiority knows no bounds … at least none he would admit to. Despite a tough childhood (alcoholic dad and absentee mother) and losing nearly 5 full baseball seasons due to military service, Williams posted incredible records (2 triple crowns) and his .406 season is one of those etched in stone baseball numbers. It was also Williams who waited until 1999 at Fenway Park to finally dispel John Updike’s proclamation that “Gods don’t answer letters”.

The series offers plenty of film clips and career highlights, but the real focus is on what made these men reach the pinnacle of their profession after significantly less than ideal starts to life. Insight comes from writers, historians, and Phil Couisineau, a learned mythologist. Also appearing in each segment is Will Leitch, founding editor of the sports blog “Deadspin”. He provides the sports and fan perspective in relation to the more psychological and mythic approach of the others. On the downside, Martin Sheen may not have been the best choice as series narrator, as his enthusiasm often seemed forced. The series is less about sports achievement than it is perseverance and personal ambition and self-motivation … certainly topics that we all can learn from and appreciate.

http://www.smithsonianchannel.com/shows/major-league-legends/1004228

 

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Posted by David Ferguson

KING GEORGES (doc, 2016)

February 27, 2016

king georges Greetings again from the darkness. The “foodie” fad has been in full swing for a few years now, resulting in a new generation of celebrity chefs … plus we each have that friend who believes top dollar and “hot” restaurants are the key to an enjoyable meal. First time director (and many times Producer) Erika Frankel provides a dose of history and authenticity (rather than Reality TV) as she turns her camera on Chef Georges Perrier and his Le Bec-Fin restaurant, an iconic Philadelphia dining locale for forty years.

In 2010, Chef Georges announced he would be closing the restaurant, and Ms. Frankel decided to take her camera into the kitchen to document the end of an era. Georges was a pioneer of French chefs coming to the United States and his four decade run is incredibly rare and quite a legacy. Early in the film, Georges tells us “A chef doesn’t have a normal life”, and the film documents the truth in this proclamation. His “20 hour workdays” cost him any shot at a family life, and though his daughter acknowledges as much, her comments are those of someone who has accepted that her father must cook in the way that an artist must paint. This level of food preparation is truly an art, and Georges is described as the world’s greatest saucier … the foundation of French cuisine.

Other films and documentaries have taken us into kitchens, but it’s Georges’ personality and commitment to “perfection” that add a different spin here. Sure, he is extremely vocal … at times bombastic … but it’s all related to his love of cooking. The stress and pressures in the kitchen of what has been called the finest restaurant in the country are at times almost unbearable, but the film helps us understand the staff dynamics and motivation.

The most interesting aspect of the film is the relationship between Georges and the young chef he is mentoring, Nicholas Elmi. Georges alternates between being demanding and appreciative. There is a touching scene where Georges invites Nick to share a meal and ballgame with him … in this world, it’s the ultimate display of love. Director Frankel follows the career path of Elmi, and it makes for a fascinating end to the film and fitting tribute to Georges.

watch the trailer:

 

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Posted by David Ferguson

JACK OF THE RED HEARTS (2016)

February 27, 2016

jack of the red hearts Greetings again from the darkness. Being the parent of an autistic child carries challenges that require incredible patience and love and extraordinary effort. Writer Jennifer Deaton and Director Janet Grillo (Fly Away, 2011) deliver an insightful and interesting look at these challenges through the eyes of two parents, their autistic daughter, their teenage son, and the in-home caregiver they hire.

The film begins with a glimpse of what appears to be two different worlds: a street wise teenage girl helping her younger sister “escape” from a foster home, and two beaten down parents of a young autistic daughter. Soon enough, these two worlds collide and Jack/Jacqueline/Donna is hired by the parents to be a live-in companion for their daughter. The parents are so desperate for help that they fall for the savvy con being played by Donna.

None of what happens is surprising … Donna turns out to have a knack for helping autistic Glory, the parents begin to experience a bit more happiness, the teenage son develops a crush on Donna, and the cloud of truth is constantly hovering. Even though some of the scenes are bit corny, for the most part the story is told in a grounded manner that allows us to connect with all of the characters – conveying the pressures, stress and periodic moments of breakthrough.

The acting is strong throughout. Taylor Richardson (A Most Violent Year) is exceptional as the autistic Glory. She is believable and never goes beyond what fits for the character. Famke Janssen and Scott Cohen are solid as the parents, and Israel Broussard shows real promise as teenage Robert/Bobert. Donna/Jack’s younger sister has limited screen time, but Sophia Anne Caruso (Brigitta in TV’s live version of “The Sound of Music”) makes it work. Shouldering much of the film is Anna Sophia Robb (Bridge to Terabithia, The Way Way Back) as Jack/Donna. She does her best work in the second half of the film, as her initial tough-girl stint is a bit shaky. However her scenes with Glory are outstanding, and it’s a pleasure to watch her slowly turn over a new leaf.

As strong as the cast is, much of the credit goes to director Grillo (ex-wife of David O. Russell) who has a real understanding of the world of autism, and keeps us focused on importance of family, the need to be loved, and the rewards of finding one’s place in the world.

watch the trailer:

 

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Posted by David Ferguson

TOUCHED WITH FIRE (2016)

February 19, 2016

touched with fire Greetings again from the darkness. We all have good days and bad. Sometimes we energetically leap from bed, while other days we barely muster the energy to push off the covers. For those who are bi-polar, those peaks and valleys are mere child’s play. When “up”, they often are filled with frenetic creativity and hyper-energy. When “down”, life holds no purpose and the simplest daily actions are deemed impossible. Medication seems to be their only hope for “normal”.

Writer-director-editor-composer Paul Dalio admits much of the story comes directly from his life and that Carla and Marco carry much of him. Katie Holmes plays Carla and Luke Kirby (Take This Waltz, 2011) plays Marco … theirs one of the few on screen meet-cutes to occur in a psychiatric hospital (not counting McMurphy and Chief). When the pendulum swings, Carla frantically scrawls out poetry based on nature and feelings. Marco is also a poet – the rapping kind – but he seems more addicted to the energy and spirit that goes with being up.

The film is really two-in-one … a star-crossed love story and a commentary on treatment (to medicate or not to medicate – that is the question). The writings and work of clinical psychologist Kay Redfield Jamison play a vital role here, and she even appears as herself in a critical scene. Carla really wants to get “right”, especially when she discovers she is pregnant.  Marco, on the other hand, spends much of his time trying to maintain the “high” as he finds life so much more fulfilling and interesting when not medicated. Marco uses the track record of many suspected bi-polar types as proof that greatness is near – Emily Dickinson, Tchaikovsky, and Van Gogh.

Bradley Cooper was Oscar nominated for his bi-polar role in Silver Linings Playbook, and both movies pay some attention to the challenges faced by families. Carla’s parents are played by Christine Lahti and Bruce Altman, while Griffin Dunne is Marco’s dad. The best intentions often fail miserably, leaving all parties feeling frustrated and emotionally distraught. The movie seems to make the argument that medication is the only real hope if a sufferer wants to live anything approaching a normal life, and it’s Ms. Jamison’s stated contention that medication will neither change the personality nor negatively impact creativity.

Katie Holmes offers up her best work since Pieces of April in 2000. Of course, there was a “marriage” mixed in there that stomped down her career. This role reminds that she is capable of finding the core of a deep character. Welcome back. Spike Lee is listed as a Producer here, and Mr. Dalio says Lee, who was his NYU Film School professor, encouraged him to explore this facet of his affliction. Dalio’s wife Kristina Nikolova shared cinematographer duties with Alexander Stanishev.

The film, previously entitled “Mania Days”, does a nice job of showing us the extremism involved with being bi-polar, as well as the challenges that come from being part of the medical field or familial support staff.

watch the trailer:

 

 

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Posted by David Ferguson

THE WITCH (2016)

February 18, 2016

the witch Greetings again from the darkness. If your own nightmares have become less frequent, and you find yourself able to sleep peacefully through the night, writer/director Robert Eggers’ first feature film will likely fix that. Based in 1630 New England … a full 60 years prior to the Salem witch trials … much of the story and dialogue is based on actual historical documents corresponding to the fears of that era. It would be a mistake to head into this one thinking it’s going to having you covering your eyes or springing from your seat … it’s better described as unsettling and disquieting.

Religious fanaticism plays a key role here, and is actually behind a Puritan family being exiled from the community. They set up a home and farm on the edge of an ominous, heavily-wooded forest … and things start to go wrong. William (Ralph Ineson) and Katherine (Kate Dickie) are stern and stoic parental units to coming-of-age teenager Thomasin (Anya Taylor-Joy), her younger brother Caleb (Harvey Scrimshaw), two spoiled and annoying twins Mercy (Ellie Granger) and Jonas (Lucas Dawson), and a new born named Samuel.

This is a slow-burn psychological horror film and it never relies on cheap jump-scares. Instead the eerie atmosphere, lurking Satanic evil, and unraveling of the family as they search for answers, all combine for a level of creep that’s not often seen on screen. Adding to our pre-conceived notion that things rarely end well for closed-mind religious zealots is the unsettling use of Old World English … it takes some time to adjust your ears.

Most of director Eggers’ background is in short films with an emphasis on Production Design and Costume Design. It’s interesting to note the gradual decline of lighting as the movie progresses … most notably on the opening and closing shots of daughter Thomasin, who faces the most backlash as a suspected (by her family) witch.

This was a time when people prayed for food and for God to have mercy … and to explain the unexplainable. No amount of praying can make sense of the titular witch (Bathsheba Garnett), or the family’s goat Black Phillip (voiced by Wahab Chaudhry), or an evil bunny that would make Monty Python proud. The dingo taking their baby might actually be a preferred explanation.

Eggers won the Sundance Award for a Director in Drama, and the film was nominated for a Grand Jury Prize. Mark Korven’s score is unique and the perfect complement to the onscreen happenings of this poor family. The film stays true to the time period, which of itself, feels like a parallel universe unfamiliar to most of us these days. Young actors Anya Taylor-Joy and Harvey Scrimshaw are real finds, and director Eggers will have a built-in and well-deserved audience for his next outing.

watch the trailer:

 

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Posted by David Ferguson

CRAZY ABOUT TIFFANY’S (doc, 2016)

February 18, 2016

crazy about tiffanys Greetings again from the darkness. Where were you when you received your first “little blue box”? If one is to believe the stream of gushing talking heads in Matthew Miele’s look at Tiffany & Co, very few moments are more memorable in a woman’s life.  The giddy women and spoiled-rotten teenagers provide the emotional perspective for what can only be described as a truly amazing success story for one of the most iconic brands in the world.

Charles Lewis Tiffany founded the company in 1837 (that’s not a misprint) and the instantly recognizable robin’s egg blue packaging is officially Pantone Tiffany blue 1837. Yes, Tiffany owns a color and it’s named after the year the company was established. The color was influenced by Empress Eugenie of France, whose style and fashion sense caught the eye of Charles.

Of course, many people know Tiffany’s thanks to the hugely popular 1961 Breakfast at Tiffany’s movie starring Audrey Hepburn, and based on the novel by Truman Capote. The influences of the Tiffany brand includes other movies (The Great Gatsby, Sweet Home Alabama), music (the 1995 hit from Deep Blue Something), sports trophies (including the Vince Lombardi NFL championship), the New York Yankees logo, Steve Jobs’ design style at Apple, as well as the purchases and style of many US Presidents – Abraham Lincoln was the first President to buy a piece for his wife, and FDR regularly wore his Tiffany wristwatch.

These days, the red carpet walk at the Academy Awards has turned into an international display of bling … much of it from Tiffany. Actresses Jennifer Beal and Jennifer Tilly provide some Hollywood perspective, and a few other designers offer their sometimes snarky remarks on how judgmental the industry can be. These segments are the most contemporary and the least interesting of Mr. Miele’s film.

It’s much more fascinating to learn that Charles Tiffany introduced the Engagement Ring into society, and the Tiffany clock at Grand Central Station is more than one hundred years old. Were you aware that there are collectors of Tiffany’s famed Blue Book (the first catalog in 1845), and more surprisingly, many who present Tiffany’s Etiquette Guide for Teenagers as a gift (not always welcome) to their kids. It’s also interesting to learn about Gene Moore, the pioneering window display artist; Elsa Peretti, the fashion model-turned jewelry designer; and Johnny Schlumberger, who became the first designer to have his name affixed to a line of Tiffany jewelry.

Lest you think Tiffany & Co is some stodgy company unwilling to adapt, they were the first jewelry company to run advertisements for rings marketed to gay couples. Miele’s film is filled with “gems” and bits of trivia and history … you just have to fight through the talking heads who somehow think they are the real story. Seeing clips of Katie Couric’s birthday bash from inside the 5th Avenue Tiffany store is yet another reminder that celebrities live a much different life than the rest of us. Fortunately the historical value of the film outweighs the arrogance of those interviewed leading to the conclusion that once you’ve watched it, I believe we’ll recall we both kind of liked it.

watch the trailer:

 

 

 

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Posted by David Ferguson

THEEB (Jordan, 2015)

February 18, 2016

theeb Greetings again from the darkness. The first film from Jordan to be nominated for a Best Foreign Language Oscar has drawn comparisons to the epic classic Lawrence of Arabia, and the legendary Monument Valley canon of John Ford. This feature film debut of writer/director Naji Abu Nowar takes a more intimate approach in being more while also being less.

It’s 1916 in Hijaz Province, Arabia – nearing the end of the Ottoman Empire – and the film opens with a voiceover of fatherly advice that provides our basic introduction to the tribe’s customs. Soon enough we are watching a couple of Bedoin brothers doing typical brotherly things. The older brother Hussein alternates between teasing young Theeb and teaching him some basic survival skills.

Circumstances are such that the boys find themselves on a cross-desert adventure that is both beautiful and dangerous. It’s a rare snapshot into this part of the world as it is transitioning from an era where the tribesmen were renowned guides across this stretch of desert, to the modern era where trains (The Iron Donkey) transport people and cargo in significantly less time.

More than anything, this is a coming of age story for young Theeb. He quickly learns to apply life lessons taught by his big brother and their late father. Each decision becomes a matter of life and death, and it’s the expressive eyes and facial gestures of Jacik Eid as Theeb that makes this so much more than a stunningly beautiful film to look at. The sand, the sun, and the colorful canyons are like so much of nature – simultaneously visually spectacular and life-threatening. Watching Theeb react to each moment through wits and quick-thinking is a unique experience, and when we realize that Theeb fully understands his place in making things right for the family, it becomes emotionally profound.

Theeb is defined as “wolf” and it’s the strength, independence and savvy of young Theeb that grabs the viewer and prevents us from simply enjoying the landscape and photography. We are engaged with the adventure of this growing-up-too-fast young man.

watch the trailer:

 

 

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Posted by David Ferguson

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