THE SALVATION (2014)

March 8, 2015

salvation Greetings again from the darkness. It is initially a bit disorienting to settle in to watch a Western shot in South Africa by Danish filmmakers with a story based in 19th century America. However, any doubts are quickly forgotten thanks to terrific writing, powerful acting, and creative camera work set to a distinctive soundtrack.

Blood, dirt, politics, true loss and crackling gun play accompany what is, at its core, a story of vengeance … and of course, good vs evil. We open in 1871 America, seven years after Jon (Mads Mikkelsen) and his brother Peter (Mikael Persbrandt) left Denmark after fighting in the war. Today is the day that Jon’s wife (singer Nanna Oland Fabricius) and son (Toke Lars Bjarke) arrive, and the separation has been tough on all. The reunion is destroyed in the most awful manner imaginable thanks to a couple of drunken ex-cons sharing the stagecoach. Of course, salvation and vengeance would not be required if there were no turning point, and Jon’s natural reaction is what sparks the real fireworks in the story.

One of the bad guys on the wagon is the brother of powerful local gangster Delarue (Jeffrey Dean Morgan). We quickly learn he is not a rational man and cares little for anything other than making money and gaining revenge on his brother’s killer. Delarue stands for all the bullies of any era, while Jon and his brother Pete represent the huddled masses incited to action only through gross injustice. There are many details and elements that set this above the traditional western, and one of those is the presence of Madelaine (Eva Green) who was married to Delarue’s murdered brother, and was previously disfigured and muted by Native Americans.

It’s impossible not to notice the similarities and influences of John Ford, Sergio Leone and the classic High Noon (cowardly townspeople, morals corrupted under duress). Director Kristian Levring even superimposes the very familiar vistas of Monument Valley into some shots, and it’s done so well that our eyes simply accept the landscape. Mr. Levring also presents us a uniquely lit stagecoach in the moonlight scene that was beautiful to look at, despite the violent nature of what was happening. Composer Kasper Winding (brother to director Nicolas Winding Refn) adds a distinctive guitar that recalls the haunting effects of Ennio Morricone’s soundtrack to Leone’s classic Once Upon a Time in America … a very effective complement.

The lead actors are superb and well cast – though Jeffrey Dean Morgan goes 180 degrees against type as the evil-to-the-bone Delarue. Eva Green speaks volumes with her fiery eyes, and Mikael Persbrandt (who was so great in In A Better World) adds to the quiet-wild feel of the film. The bulk of the action falls to Mads Mikkelsen, who thanks to Casino Royale, The Hunt, and TV’s “Hannibal” has become one of the finest actors working today. His facial tics and emotional depth convey much with few words, and his character’s expert marksmanship with a Remington rifle is a welcome shift from the spraying automatic weaponry too common in film these days.

The politics of taking advantage of the unaware weak runs throughout the films, especially with the methodical “land grab” occurring so that the rich can capitalize on the “sticky oil” spoiling the water wells. You may not be a fan of Westerns, but there is much going on in this excellent script – and the visuals combined with expert acting should allow you to appreciate what expert filmmaking this is (especially given the low budget).

watch the trailer:

 

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Posted by David Ferguson

BIG MEN (2014, doc)

March 8, 2015

big men Greetings again from the darkness. The best we can hope for from a documentary is that it tells both sides to the story. But what happens when there are even more sides? Director Rachel Boynton expertly presents the perspective of numerous parties trying to secure their fair share (or more) of the first commercial oil field in Ghana … known as Jubilee Field. Her surprising and unprecedented access offers us a behind-the-scenes glimpse of what happens when business and politics mix during a clash of cultures.

Beginning with spot on quotes concerning greed and special interest – one from economist Milton Friedman and one from the 1948 movie The Treasure of the Sierra Madre – the movie spans the years of 2007 through 2011 as Dallas-based Kosmos Energy frantically maneuvers to develop this oil find while juggling the Ghana monarchy and government (two administrations), as well as the pressures from venture capitalists and investors Blackstone and Warburg Pincus.

Ms. Boynton’s access to closed-door meetings and negotiations is fascinating, as are her brief encounters with the local militant rebels (The Deadly Underdogs) on a mission to grab a share of the money – often by cutting the pipelines and starting fires (they want the contracts for clean-up). She interviews oilman Jim Musselman while he is President of Kosmos and he is negotiating with the Ghana government and King, and then again after he is ousted from the company by the Board of Directors who are demanding a quicker return on their investment.

The Ghana situation is contrasted to Nigeria, which is currently the 5th largest oil supplier to the United States. The billions in oil profits have not benefited the citizens of Nigeria, who continue to live in harsh poverty. The Ghana government gives every indication they don’t want this to be the case with Jubilee Field … even though they have had the same results with gold and cocoa. What we soon learn (though we already knew) is that every party involved, despite the words they speak, really have only their self-interest at the forefront.

When the election changes the players in Ghana, we see Kosmos scramble to maintain the agreements and their rights. Outside pressures and investigations add further turmoil and we begin to see that rational thought and fairness are rarely in play. There may be plenty to go around for everyone, but that matters little since everyone employs the “greed is good” approach. The culture clash is undeniable, but greed is the great equalizer.

We witness the May 2011 IPO for Kosmos Energy from the trading floor of the New York Stock Exchange, and it’s a reminder of what a strange world “big money” is on Wall Street, and maybe only the “big men” really understand. Boynton’s documentary does everything possible to enlighten the rest of us.

watch the trailer:

 

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Posted by David Ferguson

VICTORI: THE TRUTH JUST CAN’T BE ONE THING (2014, doc)

March 8, 2015

victori Greetings again from the darkness. Artists often don’t make for the best interviews. They usually best express themselves through their art – whether that’s music for the ears, words on a page, or paint on a canvas. So it’s understandable that director Michael Melamedoff thought it wise to focus attention on Ed Victori, the young, articulate, poised and educated son … rather than on the eccentric artist himself, Victor Victori. Unfortunately, this approach leaves us tired of Ed and longing for more Victor.

Victor emigrated to the U.S. from South Korea in 1972, and his first major project was a mural depicting all Presidents to that point in time. The mural is still displayed in the White House even today. Much of his career was spent traveling the country painting portraits … not just celebrities and industry leaders, but also the general public. Many of his stops were in shopping malls where his unusual speed allowed him to crank out enough portraits to make money and move on to the next stop.

Director Melamedoff picks up the story when Ed had been laid off from his corporate job in Finance, and has decided to become an art consultant representing his father’s work. We see the build up to the 2012 New York Art Expo, where Ed and his mother Maria do most of the marketing and set-up, while Victor continues to paint. The emphasis seems to be selling Victor’s immense body of work (more than 50,000 per Maria) with a concentration on Multiplism … a self-titled art movement that captures multiple faces and emotions of the same subject within a painting.

By far the most interesting moments come courtesy of the interviews and insight from Victor himself. He is a fascinating guy with the true artist’s disposition – enough ego to believe his work belongs alongside the greats, and enough insecurity to facetiously explain his lack of mass audience acceptance with “I’m sorry I didn’t paint pretty pictures”. That comment is in reference to the immensely popular works of Thomas Kinkade, whom Victor accuses of “cheating” through mass-produced reproductions that are nothing more than “pasting on canvas”. His frustrations are palpable. Victor also claims he pays no attention and is not influenced by other painters, but rather by the music of Beethoven … an unusual revelation by one who paints and sculpts.

While at the Expo, there are some quick exchanges with other artists who display a similar ego/insecurity/desperation blend. It’s during the Expo that Ed’s clinical and business-type approach is most obvious. He clashes with Maria, who just wants to sell enough of the work to make money, while Ed’s vision is to establish his father as a great artist, thereby establishing himself as a legitimate art consultant. The age old clash of commerce and art is on display, but all we really want is more time from Victor, so we can hear him explain why Andy Warhol is not a great artist, but he himself should be recognized as one.

watch the trailer:

 

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Posted by David Ferguson

RUNNING WILD (2015)

March 8, 2015

running wild Greetings again from the darkness. Childhood friends are the best. Sharing your inner most thoughts and goofy actions before the emotional self-defense shields of adult life kick in create some of the best memories we will make. That moment when those childhood friends try to force a romantic connection – and it fails miserably – is not just an awkward moment, but also a life-changing one. Liza (Zoe Worth) and Eli (Alden Ehrenreich) share just such a moment … and their friendship changes immediately, even though they don’t admit it for a few years.

The film bounces around from Liza and Eli’s high school days, to leaving for college, to a break from school, and finally 4 years later. They are the kind of friends who speak in code and have their own hand signals to communicate. Really, they are pretty normal except that for lack of mingling with other friends. And by pretty normal I mean they are actually kind of boring. You know the kind of boring where someone thinks they are way more interesting than they really are? That’s Liza and Eli.

On the bright side, we don’t get too many movies that play out like a hidden camera is following two friends. It feels like we are watching Liza and Eli come to grips with the first steps of adult life – and they don’t seem to like it all that much. Again, that’s pretty normal. This coming of age process includes family parties, quirky little road trips, sexual tension, tent camping to unwind, spontaneous dodge ball, carpooling (and more) with a school friend-turned-weed-dealer (Zachary Webber), dreams of a Labradoodle, and yes, even ukulele music (on more than one occasion).

There are some elements in this film from writer/director Melanie Shaw that remind me of the very fine indie gem Once (2006) and even the classic The Graduate (1967). We can certainly relate to Liza and Eli envisioning themselves as a modern day Bonnie and Clyde couple – minus the gunplay, and we have all felt that moment, and cracked that smile, when someone says … “I just wanted to look at you“.

watch the trailer:

 

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Posted by David Ferguson

LOVE, ROSIE (2014)

March 8, 2015

Love, Rosie Greetings again from the darkness. More Romantic-Drama than Romantic-Comedy, the story spans 12 years – a necessary change of structure from the 45 year saga of Cecilia Ahern’s novel and source material “Where Rainbows End”. It’s a familiar theme of boy-girl friendship muddled by quasi-romantic interludes of frustration, confusion, missed signals, and misplaced pride.

Rosie (Lily Collins) and Alex (Sam Clafin) have been friends since they were 5 years old, and their bond means they discuss everything from Alex’s weird dreams to leaving England together. Well, everything except what they really think of each other. On Rosie’s 18th birthday, a poorly executed, drunken spin atop a barstool, leads to the proverbial fork in the romantic road … and off to the dance go Rosie and Alex with other partners. One cringe-inducing condom mishap later and Alex is headed off to school in the U.S., while Rosie stays behind to tend to other responsibilities.

In the mode of One Day, or Four Weddings and A Funeral, we track the separate lives of Rosie and Alex. Though connected mostly through texts, the next dozen years bring more than enough opportunity for these two to right a wrong, but predictably bad timing is always their worst enemy. The adapted screenplay from Juliette Towhidi (Calendar Girls) and the direction of Christian Ditter allow us to really understand Rosie and care for her, while the supermodel dalliances of Alex keep him at arm’s length.

The film’s best scenes and most interesting sequences are those centered on Rosie. Lily Collins (Phil’s daughter) really steps up her game here and shows some promise for things to come in her career. Most enjoyable are her scenes with the more streetwise Ruby (played by Jaime Winston, daughter of the very cool Ray). The film’s weakest moments involve the attempts at slapstick humor. The two worst: a scene involving handcuffs and a headboard and an elementary school; and another scene with the group awkwardly scurrying through an airport. Both seem out of place with the almost pensive nature of so many other moments in the film.

In an attempt to lighten the mood and ensure the viewers are on track, numerous songs are utilized and act almost as a narrator for the dramatic turns. Most of these are a bit overbearing rather than serving as a complement to the story. Despite the shortcomings, the message of friendship and dreams is one worth delivering … even if the presentation may be a bit cheesy except for the most hopeless of romantics amongst us.

watch the trailer:

 

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Posted by David Ferguson

IT FOLLOWS (2014)

March 8, 2015

it follows Greetings again from the darkness. Known for an endless stream of copycats and re-treads, the horror genre periodically surprises us with a dose of originality. Heck, we don’t even ask horror filmmakers for anything too revolutionary … just give us something we haven’t seen a few dozen times before. Writer/director David Robert Mitchell “gets it” and delivers a game of psycho-sexual-tag-you’re-it featuring the most sinister STD ever.

A definite departure from the all-too-common teen slasher films, the slow-drip terror of this one has more in common with dread and eventuality than scream-inducing terror and “made you jump” scares. When we first meet Jay (Maika Monroe), she is a typical pushing-twenty student who enjoys leisurely swims in her suburban backyard pool, hanging out with friends, and a healthy dating scene. Well, healthy until one evening of back seat passion with Hugh (Jake Weary) sets off the above-mentioned sinistry. See Jake has purposefully “passed on” some kind of affliction that attracts a death-seeking entity who slowly, but purposefully pursues its target. Supposedly the only options are to be killed or pass it on through more passion … the worst kind of “pay it forward”.

Jay is supported in her ongoing attempts to avoid the entity by her sister Kelly (Lili Sepe), her neighbor and classmate Greg (Daniel Zovatto), and Paul (Keir Gilchrist) her not-so-secret admirer who would do anything to protect her. The big catch is that only Jay can see the entity … making heroism quite elusive for her support group.

Lest there be any doubt of the dire situation, director Mitchell begins the movie with a very vivid example of the likely result in being “caught” by the entity, and adds the score from composer Disasterpeace … an ominous throwback techno-sound that would be distracting if not so fitting. This has all the makings of a breakout role for Maika Monroe, with similarities to Jamie Lee Curtis in the original Halloween movie (1978).

The low budget caused some obvious production limitations – in particular an awkward bounce from day to night and back again, and some iffy effects. However, the suburban Detroit setting provides a nice backdrop, and of special note are the Redford Theatre (est 1928) replete with its beautiful pipe organ, and the indoor swimming pool put to spectacular use in the film’s climax. As long as the audience is not expecting the typical teen slasher, this creative horror film should gain an audience while putting director David Robert Mitchell on the fast track to bigger budget films.

watch the trailer:

https://www.youtube.com/results?search_query=it+follows+review

 

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Posted by David Ferguson

EVERLY (2014)

March 8, 2015

Everly Greetings again from the darkness. If only drive-in theaters were still the weekend hang-out of choice for teenage boys, this latest from director Joe Lynch would be the perfect second feature after some horror or slasher designed to generate oohs and ahhs through gross-outs (elevators and grenades are not a good mix).

After beginning with its most unsettling scene – gang abuse of a female (fortunately via black screen and sound effects) – the rest of the film plays just like an ultra-violent, hyper-speed video game. The two main distinctions here are that all of the action takes place inside a loft apartment, and the lead character is played by Salma Hayek. Having appeared in Desperado and From Dusk Til Dawn, Ms. Hayek is no stranger to wild action sequences, but here she carries every carnage-filled scene … all while slinking around in a silk slip or her favorite yoga pants.

Gun, knives, swords, grenades, chemicals and various other implements of destruction are brandished by Hayek, masked killers, greedy hookers, a SWAT team, and Hayek’s ex-pimp/kidnapper. We even get a character called “The Sadist” (Togo Igawa) in one of the most straight-forward character names in movie history. There is even an attack dog named Bonzai that is well-trained in everything except the difference between a ball and a grenade. And therein lies the saving grace here … the movie has some absurd humor that prevents the ultimate tone of dread by such films as Saw. The humor isn’t so much clever as it is outrageous … and it helps offset the gruesome and blood-filled body count (at least 20 in the first 20 minutes!).

Director Joe Lynch is more comfortable with horror films than action films, but it’s clear he has a love with B-movies, and he is fortunate enough to have Salma Hayek front and center. The only way to watch this is with your brain shifted to neutral. The level of ridiculous is off the scale and includes too many “that makes no sense” moments to recap here. On top of all that, the action occurs around Christmas, and use of six traditional Christmas songs adds to the twisted humor that will probably keep you tuned in, despite your knowing better.

**NOTE: For those in the Dallas area, this will be playing at the Texas Theatre

watch the trailer:

 

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Posted by David Ferguson

FOCUS (2015)

March 7, 2015

focus Greetings again from the darkness. Movies about “the con” have had many different looks over the years: the suave coolness of Oceans 11, David Mamet’s twisted perspective in House of Games, the tongue-in-cheek teamwork of Redford and Newman in The Sting, the demented mother-son approach in The Grifters, and of course, the slapstick style of Steve Martin in Dirty Rotten Scoundrels. All of these committed to one style and made it work. The latest from the writing/directing team of Glenn Ficarra and John Requa (I Love You Phillip Morris, Crazy Stupid Love) can’t seem to decide if they want the audience in on the joke, or if they rather the audience be the butt of the joke.

Will Smith plays Nicky, a third generation con man who is also a very conservative entrepreneur. He runs his cons as a business and prides himself on never taking unnecessary risks, ensuring the odds are in his favor. His professional curiosity lands him in an awkward situation with Jess, played by Margot Robbie (The Wolf of Wall Street), who clumsily mistakes Nicky for an easy mark. Instead, he agrees to mentor her during Super Bowl week in New Orleans. This sequence is the best and most entertaining part of the film.

The second half of the film complicates things with the do they or don’t they love story between Nicky and Jess, as well as a few other messy personal relationships. The fun here lies with the con, not the love story, and that’s where the focus should stay. In fact, the most interesting characters aren’t Nicky and Jess, but rather a riotous Adrian Martinez (as Nicky’s computer whiz assistant), Rodrigo Santoro (as a racing team owner trying to cheat the competition), Gerald McRaney (a hoot as Santoro’s crusty old henchman), Robert Taylor (TV’s “Longmire”) as one of Santoro’s competitors, and BD Wong as Nicky’s betting adversary in the film’s most ludicrous sequence (and that’s saying a lot). Ms. Robbie has true star potential, but the script hangs her out a few times. She will be seen as Jane in next year’s Tarzan movie, so add that to your must-see list.

A very smart person I know observed that Will Smith has been conning us for years, and maybe by taking this role, at least he is finally admitting it. It is a bit tiresome to see Mr. Smith consistently play the smartest guy in the room, the most charming guy in the room, and the sneakiest guy in the room. It seems maybe he is one of the few that still sees him as such. The best actors elevate their co-stars and the script, while it seems he believes his star power is all that’s required.

watch the trailer:

 

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Posted by David Ferguson

THE SECOND BEST EXOTIC MARIGOLD HOTEL (2015)

March 5, 2015

second best exotic Greetings again from the darkness. It’s been about 4 years since the delightful first film, based on Deborah Moggach’s novel, was a box office hit. My review of that film was the first time I used the phrase “gray cinema” – describing a growing genre specifically targeting the aging population. Neither director John Madden nor writer Ol Parker have had much going on since, and they re-team for this sequel that should satisfy most of the sure-to-return core audience.

Spirited and energetic hotelier Sonny (Dev Patel) is back and has his sights set on expansion to a nearby second property. Most of the original residents are also back: Judi Dench, Maggie Smith, Bill Nighy, Celia Imrie, Ronald Pickup, and Diana Hardcastle. Lilette Dubey returns as Sonny’s mother, Tina Desai is now his fiancé, and Penelope Wilton resurfaces after dumping Bill Nighy in the first movie. New faces to the scene include Richard Gere, Tamsin Greig and David Strathairn, along with a few other lesser, but effective supporting roles.

A similar extended pre-opening credit sequence is again utilized to catch us up on the status of the regulars. Maggie Smith is now co-managing the hotel. Judi Dench is a buyer of local fabrics. Bill Nighy is a willing, but inept tour guide. Celie Imrie is juggling two wealthy suitors. Ronald Pickup and Diana Hardcastle are working – at jobs and at a relationship. Mr Patel and Ms Smith take a business meeting to the U.S. to meet with Mr. Strathairn with a design on financing the second property. Mostly the trip is an excuse for Dame Maggie to crack wise about us uncultured Americans, and few can deliver a one-liner like this lady.

It’s also on this trip, where Patel’s character begins a change in tone. In the first movie, his character was eager, naïve, pleasant and charming. This time, his ambitious nature is over-the-top and actually quite annoying (by design yes, but still annoying). This single feature affects the pleasant nature and unnecessarily puts us on edge and prevents us from connecting with a key character.

What’s very clear is that this film misses the structure of Ms. Moggach’s novel, and the numerous sub-stories come at us so quickly that every character is mostly surface level with no real depth allowed. The best exchanges are between Ms Dench and Ms Smith (one being 19 days older than the other), while poor Mr Nighy is treated like a wounded puppy for much of the story. Also lacking is the cultural clash so prevalent in the first, and instead we witness a group that has acclimated to the surroundings preventing any real interesting conflict – though the colorful sights of town are still amazing to see. The “high-speed” tuk-tuk chase adds an element of humor, and of course we get the Bollywood-style dance number at the end of Sonny’s wedding to Sunaina (Tina Desai).

Despite the flaws, there are still plenty of laughs and loads of charm, and it’s certainly a pleasure to see a welcome response to the question “Is age a barrier to happiness?”. The actors and the setting make this an enjoyable two hours, though some may question the attempt at a deeper philosophical approach at the end.

watch the trailer:

 

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Posted by David Ferguson

UNFINISHED BUSINESS (2015)

March 5, 2015

unfinished business Greetings again from the darkness. Just a little bit of creativity goes a long way in comedies these days, as it seems most just care about pushing the bounds of crude and raunchy humor. The premise of this latest from director Ken Scott (Delivery Man) and writer Steve Conrad (The Pursuit of Happyness) teases us with the hope that it could be more Office Space than Neighbors, but the lure of cheap, bawdy laughs proves too great.

The story begins with Vince Vaughn’s Dan Trunkman having a Jerry Maguire moment in the middle of the office after being informed by his boss Chuck (Sienna Miller) of a 5% paycut. Dan’s Napoleonic charge to the parking lot results in his new company being staffed by Tom Wilkinson (fired for being too old) and a much younger and less-experienced Dave Franco. We follow the boys from St Louis to Portland, Maine to Berlin as they chase the ever-elusive “handshake” to seal their first big deal.

Featuring a near-endless stream of potential comedic elements, the film touches on: parenting, bullying, ageism, the G8 summit and corresponding protest/riot, a Fetish Festival, the Berlin marathon, a gay bar, marital challenges, small business ownership, mentoring, the politics of business, a unisex spa, a youth hostel, excessive drugs and booze, “maids” for hire, challenges for chubby types, and an introduction to inhabited art. Some of these are underplayed, while others go way over-the-top.

Vaughn is the leader of this “three amigos” triumvirate of misfits and is on a mission to put the welfare of his employees above company profits – all the while he is skyping with his wife (the underutilized June Diane Raphael) on the due date for private school tuition. Mr. Wilkinson plays the older guy looking for new experiences (as his marriage dissolves) and Mr. Franco is the most confusing of all characters – we are unsure whether he is absurdly naïve or somewhat mentally handicapped. The upstart company is competing directly against Chuck and the old company in a very confusing transaction involving “swarf”, which is described as metal residue from giant projects like bridges and skyscrapers. Because of this, the business element is really wasted and all we get is generic-speak about spreadsheets and profit margins.

Other supporting work is provided by Britton Sear and Ella Anderson as Vaughn’s kids, James Marsden as the prospective client, and a scene-stealing Nick Frost as Marsden’s operational sidekick with a lonely/wild side. In addition to the shenanigans mentioned above, the movie periodically throws up the stop sign for laughter in an attempt to mix in some real world family emotions – parenting via Skype is a bit challenging.

As one would expect, there are many laughs throughout, although Vaughn is working hard at evolving from the “zinger” guy he has been for two decades. Unfortunately the structure of the film is simply too loose to work as anything more than a few laugh-inducing comedy set scenes. Still, there is much to be said for a film and actors that can make us laugh … even with an unfinished handshake.

watch the trailer:

 

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Posted by David Ferguson

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