GABBY GIFFORDS WON’T BACK DOWN (2022, doc)

July 20, 2022

Greetings again from the darkness. If you get shot in the head, you will likely die. If somehow you survive, and never fully regain speaking competence or full physical coordination, what would be your outlook on life and on gun control? Gabby Giffords, a former member of the U.S. Congress, did survive, and co-directors Julie Cohen and Betsy West (the duo behind the 2018 documentary, RBG) show us that Gabby remains a committed optimist and activist … a gunshot victim, a gun owner, and a gun control activist with reasonable goals for gun ownership. She confidently proclaims, “I’m not against guns. I’m against gun violence.”

It was January 8, 2011, when Gabby (I’m referring to her this way out of ultimate respect and because this is how she often refers to herself) was meeting and greeting her constituents outside the front doors of a Safeway store in suburban Tucson. A gunman opened fire attempting to assassinate her, and in the process, shot 19 people, killing six – including a federal judge and a young girl. Though initially reported as dead, Gabby did survive despite the bullet passing through her skull and brain. Gabby’s husband, Space Shuttle Endeavor Commander Mark Kelly, decided to film her in the hospital for the days and weeks after the shooting, so that one day she could see what she had endured. Some of these segments are quite difficult to watch, especially when we see her uncontrollably repeating the word “chicken”, and subsequently breaking down with her speech pathologist. These segments convince us of two things: Gabby’s recovery was remarkable, and she’s an incredibly determined person.

Filmmakers Cohen and West provide some background on Gabby. After graduating college, she had a NYC job with a large firm, and resigned that to move back home and run El Campo Tire, the family business. We even see her appearance in a local TV commercial, her charm and leadership skills clearly on display. After negotiating the sale of the business. She turned her attention to politics and we see some of her early campaigning. Articulate, forceful, and immediately likable, Gabby was a moderate who used logic in the stands she took, and was a rising political star on the national scene. We hear from Gabby’s parents, as well as her stepdaughter, who admits to not being especially warm to Gabby when her dad (Mark Kelly) began dating her. It’s refreshing to see that their relationship is quite strong today.

Aphasia is a disorder that affects a person’s ability to communicate. There can be few things worse for anyone, especially a politician. Former President Barack Obama is interviewed and speaks glowingly of Gabby as a politician and a person; however, it’s the relationship between Gabby and husband Mark that is the heart of her recovery, her work since, and his successful run for Congress in 2020. This is the husband that commanded the Space Shuttle concurrently with his wife’s latest brain surgery. The couple founded a gun control organization in 2013, and it’s now known simply as “Giffords”. We see Gabby’s triumphant return to Washington, DC, and understand her subsequent resignation a few months later. This is the story of a unique and strong woman in a true relationship with a strong man. Together they do amazing things. Consider me “Gabbyfied”.

Opened in theaters on July 15, 2022

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Posted by David Ferguson

THE GRAY MAN (2022)

July 15, 2022

Greetings again from the darkness. You’ve likely heard, and maybe used, the old adage, “everything but the kitchen sink.” It’s typically meant to emphasize the inclusion of many unrelated and often unnecessary elements into a conversation or event. It also provides a description of the strategy filmmaking brothers Anthony Russo and Joe Russo have taken with the action sequences in the highest budget Netflix original movie to date. Of course the Russo brothers have directed numerous Marvel movies, including AVENGERS: ENDGAME (2019), so subtlety is never anticipated in their films. If you are curious to know what kind of kitchen sink you get for $200 million, Anthony and Joe show us: lots of guns, a global trek to various countries, more big guns, plenty of characters – some relevant, some not, even larger guns and weapons, lots of rayon, and the destruction of a town square in Prague.

Fans of turbo-charged action films such as the John Wick and Jason Bourne films will likely be quite satisfied with the set pieces, stunts, and manic gun fights and fist fights that are packed into a two-hour run time. There is so much bouncing around the globe that it’s kind of difficult to keep up – especially since there doesn’t seem to be any particular reason for all of the globetrotting (well, other than it’s pretty unusual). I couldn’t keep track of every locale, but we definitely visited Bangkok, Austria, Croatia, and Czechoslovakia. And that’s beyond Washington, D.C., and Langley, where we spend time in dark offices.

Co-director Joe Russo co-wrote the screenplay with frequent Russo Brothers collaborators Christopher Markus and Stephen McFeely, and it was adapted from Mark Greany’s novel (the first in a series). Ryan Gosling stars as Court Gentry, codename Sierra Six, a CIA black ops hit man recruited directly from prison by veteran CIA agent Donald Fitzroy (Oscar winner Billy Bob Thornton). This is Gosling’s first movie in 4 years (FIRST MAN, 2018) and it’s nice to have him back in a role that will recertify his ‘man card’ before next year’s BARBIE movie. As you might expect, Gosling’s Six is cool as a cucumber, popping off quips, and stoic in the face of adversity. In fact, much is made of his character’s ‘street cred’, despite most every scene involving colossal mistakes, should-be death encounters, and enough mayhem to make Allstate jealous. Six is so cool that he has less reaction to being shot or stabbed than I have when I stub my toe on the leg of the bed.

When Six’s mission goes awry due to his human compassion, three things happen. First, Agent Dani Miranda (Ana de Armas) bails him out (the first of a few). Second, his target gives him advice and the always mysterious thumb drive with incriminating evidence; and third, his corrupt station chief, Denny Carmichael (Rege-Jean Page, “Bridgerton”) throws a tantrum and hires a psychopath to track down Six and eliminate him. The psychopath is Lloyd Hansen played by Chris Evans, sporting an evil mustache and resort casual attire. It seems Mr. Evans is having fun with the villainous role that he hopes will put distance between his career and the Captain America role he has embodied for more than a decade. The argument could be made that he overplays his hand here, but he does get to spout the already infamous line, “If you want to make an omelet, you gotta kill some people”.

Other players here include the always terrific Alfre Woodard as a former station chief, Jessica Henwick (Bugs from THE MATRIX RESURRECTIONS), Dhanush as yet another hired assassin, Shea Whigham in flashbacks, and Julia Butters as the ‘damsel in distress’. You might recall Ms. Butters’ scene-stealing turn as the precocious child actor in Tarantino’s ONCE UPON A TIME … IN HOLLYWOOD. This film’s title is derived from the term for a CIA operative who effectively moves around without being noticed or remembered (the opposite of a Kardashian). The ironic thing is that Gosling’s Six is almost never undetected. He is frequently in fights, shootouts, car chases, and either causing or escaping explosions. Even the Russo’s “gray” lacks subtlety! It makes perfect sense that the film’s cinematographer, Stephen F Windon, is best known for his work on multiple entries in “The Fast and the Furious” franchise. Here he employs some supersonic drone shots in order to add further hyper-activity to the proceedings. Again, this one is for extreme action fans, not those looking for a brainy spy-thriller.

Opens in theaters on July 15, 2022 and on Netflix beginning July 22, 2022

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Posted by David Ferguson

MRS. HARRIS GOES TO PARIS (2022)

July 14, 2022

Greetings again from the darkness. Leslie Manville is one of those actors we take for granted. She’s so talented and versatile and typically “perfect” in the supporting roles she embodies. For us followers of British filmmaker Mike Leigh, we’ve been treated to numerous Manville performances over the years, but it’s likely she’s most widely recognized for her Oscar nominated performance in Paul Thomas Anderson’s PHANTOM THREAD (2017), where she played Daniel Day-Lewis’ sister and business partner with an icy efficiency that added heft to a terrific film. This time, Ms. Manville embraces the lead and delivers a turn as a Mrs. Harris that we would all welcome into our lives.

Writer-director Anthony Fabian (SKIN, 2008) co-wrote the script with Carroll Cartwright (WHAT MAISIE KNEW, 2012), Keith Thompson, and Olivia Hetreed (GIRL WITH A PEARL EARRING, 2003), and it is based on the 1958 Paul Gallico novel, “Mrs. ‘Arris goes to Paris”. There were four books in the series (leading to speculation of sequels), and Mr. Gallico also wrote “The Poseidon Adventure”, from which the 1972 disaster movie was adapted. We first meet Ada Harris (Manville) as she makes her rounds cleaning the homes of upper crest society. She rides the bus with her best friend Vi (Ellen Thomas), and occasionally meets up for an end of the day drink at the local pub, where Archie (Jason Isaacs) flirts a bit with her. Mrs. Harris has been biding her time for news of her beloved Air Force husband, MIA for 12 years. It’s a simple life she leads, but it’s one filled with optimism and hope and determination to live the right way.

The film shifts into ‘Adult Fairy Tale’ mode when one day Mrs. Harris falls hard for a couture Dior dress purchased by one of her clients. It’s a symbol of the beauty and opulence that has eluded Mrs. Harris her entire life. At that moment, she commits to saving enough money to purchase her own Dior dress … something that she has no rational use for. It’s mostly just a way for one ‘invisible’ woman to fulfill her own fantasy by experiencing a taste of dreamlike luxury … a rare pursuit of pleasure for this woman. A somewhat comical chain of events occurs in montage fashion as Mrs. Harris scrimps and saves (and gambles) her way to the monetary goal that puts the dress in play.

Once she arrives in Paris, the film becomes a fish-out-of-water story, as Mrs. Harris seemed to think she could stroll up to the House of Dior and have a dress wrapped up for the trip home. Claudine Colbert (the always great Isabelle Huppert), the gatekeeper of Dior, will have none of this … Dior is only for those who are deserving, not the riffraff. The scenes with the two women expertly highlight the personality differences. Mrs. Harris immediately begins to win people over with her nice demeanor. One of the keys is Marquis de Chassagne (Lambert Wilson), who takes a liking to her and invites her to view the new line as his guest. Another is Andre Fauvel (Lucas Bravo), the young accountant whose cutting-edge ideas are ignored by the “old school” stodgy types in charge. Lastly, there is supermodel Natasha (Alba Baptista), as the “Face of Dior”. She admires Mrs. Harris’ tenacity and kindness, which assists Natasha is discovering her true self.

Seeking to reach her own goal, Mrs. Harris ends up affecting the future of many others, as well as the future of the House of Dior. She has the kind of demeanor and spirit that draws in other people, while inspiring goodness. This is less about exposing elitism than applauding niceness. People are drawn to inherently nice people. As an adult fantasy, the film is likely to hold the most appeal for middle-aged women, and should be a perfect day at the theater for mothers and their adult kids.

Opening in theaters on July 15, 2022

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Posted by David Ferguson

DON’T MAKE ME GO (2022)

July 14, 2022

Greetings again from the darkness. Sometimes a movie synopsis just screams “Lifetime Channel”. As an example: A road trip movie with a single father and his teenage daughter would be a typical beginning. Oh, and the father has been recently diagnosed with a brain tumor. And then, let’s have them track down the mother that abandoned the girl when she was a baby. Those pieces certainly lay the groundwork for a sappy melodrama meant only to induce tears from those who enjoy a good cry after a hard week of work. Fortunately and surprisingly, crisp writing, proficient filmmaking, and a talented cast work together to make this film something entirely different – a heartfelt saga grounded in real life feelings and moments.

Hannah Marks is an actress now making her mark as an up-and-coming director, while the script was written by Vera Herbert (“This is Us”). A perfect example of their grounded approach to these storylines comes near the film’s beginning when Max Park (John Cho, Star Trek franchise as Sulu, COLUMBUS, 2017) reacts to the doctor’s diagnosis of brain tumor and prognosis of one year to live. His movements strike us as real to the moment, rather than staged for effect. Max immediately rules out an option for a highly-risky surgery, choosing instead to bribe his 15-year-old daughter Wally (newcomer Mia Isaac) to take a road trip with him under the auspices of attending his 20-year college reunion. The bribe? Driving lessons.

Wally is a ‘normal’ teen who makes both good and bad decisions, while often getting frustrated at her ‘boring’ and restrictive parent. Max chooses not to tell Wally of his condition or his ultimate goal of reuniting her with her mother, in hopes that she will have family once he’s gone. The drive takes place in Max’s old wood-paneled Jeep Wagoneer, an example of how he has sacrificed to provide for her all these years. Another deeper sacrifice is revealed on the trip, and there are moments of disagreement and aggravation, but also special moments of bonding that can only happen when a parent and teenager communicate.

Since it was filmed in New Zealand during the pandemic, the staged road trip from California through Arizona, New Mexico, Texas, Louisiana, and ultimately, Florida, does not offer the familiar landmarks along the way that we’d expect. But this story isn’t about cool pit stops or Bourbon Street (although we do get some killer shooting stars), it’s about a father understanding his daughter and that daughter understanding her father.

Excellent supporting work is provided by Kaya Scodelario (a mutual booty call buddy for Max), Josh Thomson (Max’s oldest friend), Otis Dhanji (Wally’s first crush), Stefania LaVie Owen (Wally’s friend), Jemaine Clement (as Max’s ex’s ex), and Jen Van Epps (as Wally’s mom). But make no mistake, this movie crackles thanks to the chemistry between Mr. Cho and Ms. Isaac. We believe in them, and though the ending is a bit creaky, their relationship is fully-formed in reality. When he counsels, “A good man will take you dancing”, we smile along with Wally, knowing this father wants only the best for her. The opening voiceover warns us, “You’re not going to like the way this story ends. But you’re going to like the story.” That turns out to be true, although it doesn’t stop the appreciation for all involved. This journey on the road turns into a journey in life.

Streaming on Prime Video beginning July 15, 2022

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Posted by David Ferguson

WHERE THE CRAWDADS SING (2022)

July 14, 2022

Greetings again from the darkness. This is the kind of movie that requires upfront disclosure: have you read the book or not? Since it was number one on New York Times best seller list for 2019 and 2020, and remained on the list for almost three years, it’s a legitimate question and likely the driving force behind Reese Witherspoon producing the film. I have not read the book and came in with only a few preconceived notions, and enough background information to make it more interesting, not less. This is director Olivia Newman’s first film since her debut FIRST MATCH (2018), and Lucy Alibar (BEASTS OF THE SOUTHERN WILD, 2012) adapted the screenplay from the enormously popular novel written by Delia Owens.

Kya Clark is the youngest child of Ma (Ahna O’Reilly) and Pa (Garret Dillahunt). We get a quick glimpse at their strained existence in the marshes of Barkley Cove, North Carolina in 1953, including the violent abuse administered by Pa. It doesn’t take long for her parents and siblings to abandon her, leaving young Kya (JoJo Regina) to fend for herself in what most would consider a harsh environment. But Kya becomes one with nature. Though illiterate, she draws and charts local bugs, bird, and water creatures, while scrounging out a meager living thanks to assistance from local black store owners, Jumpin’ (Sterling Macer Jr) and Mabel (Michael Hyatt).

Daisy Edgar-Jones (“Normal People”, FRESH, 2022) plays older Kya, the one townspeople refer to as “Marsh Girl”. Sensitive local boy Tate (Taylor John Smith) shares Kya’s interest in nature and teaches her to read and write … surely having little to do with her being the prettiest marsh girl you’ve ever seen. When Tate heads off to college, adding another to the Kya abandonment roster, she’s pursued by local rich boy Chase (Harris Dickinson). This becomes another in the film’s storylines when Chase turns up dead after a fall from a fire tower. Despite no footprints, no fingerprints, and very little evidence, Kya is charged with murder and faces the death penalty. A local nice guy attorney (David Strathairn) takes the case and shy, withdrawn Kya provides little help in her defense.

So let’s chat about what’s good and not so good. The Kya character is fascinating and certainly worthy of being the centerpiece of a story. There are similarities to other stories about those who were raised outside of society. NELL (1994) and Tarzan come to mind, but despite the marsh environment, Kya never is a wild creature, and only as a child do we see her dirty and unkempt. This is a flaw, as Kya should be more raw and primitive … at least until her mentoring by Tate. It’s a mystery how Kya is as smart and clean and refined as she appears, since it’s mostly just the store owners who provide even a dash of support. The structure of the film is decidedly fluid – bouncing from timeline to timeline and from story to story. This kind of structure requires superb writing, something that just isn’t in the cards. The courtroom drama and murder case against Kya are especially lightweight and sloppy. Most of it makes little sense and bears almost no resemblance to what an actual trial would look like. Instead, it’s slick for dramatic effect.

The cliches are to be expected, and Ms. Edgar-Jones is to be commended to making the most of a role that often requires her to sit with bowed head or gazing at nature. The narration is odd, with an inordinate number of words jumbled up to initially differentiate between a marsh and a swamp. The love story seems pulled directly from a romance novel, and in fact, that’s probably the best description of his, rather than a murder mystery. Chase and Tate are textbook examples of the extremes of men, and Kya’s Pa adds fuel to the argument that most men are experts at letting down women. Kya’s attention to nature and emphasis on survival instinct vs morality are used multiple times to guide us toward the ending, which evidently is supposed to be a twist reveal. Cinematographer Polly Morgan inserts some nice shots of nature, and the music from Oscar winning composer Mychael Danna (LIFE OF PI) is excellent. Taylor Swift’s new song, “Carolina” plays over the closing credits. It’s not likely a film that will win over anyone who wasn’t a fan of the book, but those devoted readers will surely be on board.

It should be noted that a story more interesting that what we see in the movie, is the real-life events of writer Delia Owens and her husband from their twenty plus years in Africa. This includes a murder case with some curious similarities to what she wrote about. If you are interested, track down the 2010 New Yorker article, “The Hunted”, researched and written by Jeffrey Goldberg.

Opens in theaters July 15, 2022

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Posted by David Ferguson

SHE WILL (2022)

July 14, 2022

Greetings again from the darkness. Coming from the IFC Midnight stable, this first feature film from writer-director Charlotte Colbert and co-writer Kitty Percy, may be judged as a thriller or horror, depending on one’s perspective. By creating an ominous atmosphere, the movie highlights how certain events can grab hold and remain with us, often buried deeply, for our entire life. We don’t always know how these memories will manifest or how or when we deal with them, but if the scars remain, a reckoning likely follows.

Alice Krige is perfectly cast as Veronica, an aging movie star. She’s coming off a double mastectomy and is expressing more than a touch of grumpiness towards her much younger nurse Desi, played well by relative newcomer Kota Eberhardt. Veronica has booked an extended stay for rehabilitation at an isolated countryside manor, and though she and Desi have a private cabin on the grounds, Veronica is quite miffed that there are other guests in the main house … with odd therapy sessions led by Tirador (played by an almost unrecognizable Rupert Everett).

Almost immediately, strange things begin to occur and much of it is related to the earth and ground. The mud seems to have supernatural effects on Veronica’s visions and dreams. This is explained as healing power due to the heavy presence of ashes from witches burned at the stake many years prior. The memories of a traumatic event return to Veronica. She was a child actor in a film by the legendary Hathbourne (the always great Malcolm McDowell), and now he is re-casting for a remake of that film. So as Veronica faces her perceived loss of femininity at the edge of scalpel, she’s also dealing with fears of aging as the same filmmaker recreates a project she is now too old for.

Symbolism is entrenched in the film, and the approach to Veronica’s revenge on Hathbourne is handled through mysticism that can’t easily be explained … though it’s a welcome new approach to the #metoo movement. One of my favorite aspects of the film is how the initial gulf between Veronica and Desi gradually changes as the two generations of women bond over their strength. Italian ‘Master of Horror’ Dario Argento is a producer on the film, and though we don’t know what input he had, it’s quite a compliment to Ms. Colbert to state her debut film deserves to be mentioned alongside his.

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Posted by David Ferguson

MARCEL THE SHELL WITH SHOES ON (2022)

July 7, 2022

Greetings again from the darkness. For proof that social media and the internet can be used for good, I offer as evidence this film from writer-director Dean Fleisher-Camp and co-writers Elizabeth Holm, Nick Paley, and Jenny Slate. The first ‘Marcel’ short film hit the internet in 2010 and was such a hit that there were two follow-up short films and a best-selling picture book. Now expanded to a feature length film of 90 minutes, the innovative and curious premise holds up due to the fully-formed character of a precious one-googly-eyed mollusk shell wearing … yes … shoes.

Why do we connect with Marcel? Well, the instantly recognized voice created by Jenny Slate plays a huge part. There is a welcoming innocence in the wispy tone, and when combined with the exceptional writing, the result is a relatable character full of warmth and wit, and pain and humor. Marcel is naïve, yet persistent. He’s someone we like and pull for. The story is told via faux-documentary as a filmmaker (played by director Fleisher-Camp) stays in the Airbnb where Marcel lives with his aging grandmother Connie (voiced by Isabella Rossellini). During interviews, we learn that Marcel longs for his family and community that was disrupted when the home’s original owners broke up and moved out. Since then, Marcel has looked after his grandmother and helped her tend the garden. They have been quite creative in their use of household resources, including a tennis ball for transportation.

The filmmaker posts the interviews online and soon Marcel has a huge following, giving him hope that his family can be tracked down. This leads to a terrific “60 Minutes” segment with journalist Leslie Stahl. The best description I can offer of Marcel is adorable – not a word I use very often. Marcel forces us to view the world through a child’s eye, but it’s important to note, that while young children may find Marcel cute, the dialogue, wit, and life issues covered will be way over their heads (though not offensive in the least). Young kids (under 10) should probably stick to the shorts. The sad and painful context is balanced by sweetness and optimism. Marcel’s story inspires us to embrace all stages of life with an open heart and mind – dealing with grief and sadness, while coming out the other side with spirit intact.

A24 specializes in distributing innovative and creative movies, and this certainly qualifies. It’s not really a mockumentary because it’s not mocking anything. The stop-motion approach in documentary style may initially seem like whimsy, but we quickly realize it’s more substantive. Individual strength and the power of community are on full display, and somehow Marcel the Shell teaches us … while wearing shoes.

Opens in theaters on July 8, 2022

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2 Comments | Comedy, Drama, Fantasy | Tagged: , , , , , | Permalink
Posted by David Ferguson

BOTH SIDES OF THE BLADE (2022, France)

July 7, 2022

Greetings again from the darkness. If you are one of the many who need someone to cheer for – a nice person – in order for a movie to work for you, then this latest from renowned French director Claire Denis (BEAU TREVAIL, 2019) is going to be a challenge. Ms. Denis co-wrote the script with Christine Angot (they previously collaborated on LET THE SUNSHINE IN, 2017), an adaptation of Ms. Angot’s novel.

Oscar winner Juliette Binoche stars as Sara, and we first see her whilst on an idyllic retreat with her long-time lover Jean, played by screen veteran Vincent Lindon. Sara and Jean are clearly happy and in love. When they return to Paris, we learn Sara is a talk show host for Radio France International, and Jean is a former Rugby star who has spent time in prison for an unspecified crime. His son, Marcus (Issa Perica), from a previous relationship is a troubled young man being raised by Jean’s elderly mother, Nelly (Bulle Ogier). Jean has little fatherly sense and makes only a negligible effort to help.

One day, Sara spots her former lover, Francois (Gregoire Colin), on the street. Maybe he sees her, maybe he doesn’t. Sara is overcome with emotion. Sara and Francois were together when she began seeing Jean. To make this the most French situation possible, Francois and Jean were friends and business associates at the time. It’s even implied that Jean’s crime was related to activities connected to Francois. So what happens next? Well, Francois phones Jean to offer him a chance to come back into the scouting business for a new sports agency. It’s at this point where Francois’ motivations come into question. Is he doing his friend a solid, or worming his way back into Sara’s life?

This becomes a love triangle even more complicated than most. Sara deludes herself into thinking she can once again enjoy the fruits of Francois, while also appeasing her beloved Jean. Jean is distracted by issues with Marcus, but also too proud to let Sara walk over him. On full display are the destructive effects of an affair and the lack of respect and appreciation for a strong relationship. When the power of lust and idealistic romance collide, things get emotional. Cinematographer Eric Gautier works wonders in confined spaces. We never feel like the characters have room to breathe after making another poor decision. It’s interesting to see how smoking and taking calls on the apartment balcony becomes the only “space”. The close-ups allow Ms. Binoche and Mr. Lindon to do what they do best. The music is by Stuart Staples and includes a song written especially for the film. Ms. Denis again proves adept at allowing viewers to interpret the actions of all-too-human characters.

Opening July 8, 2022

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Posted by David Ferguson

DREAMING WALLS: INSIDE THE CHELSEA HOTEL (2022, doc)

July 7, 2022

Greetings again from the darkness. Art, sex, drugs, rebellion, counterculture, and even death … that’s the infamous history of New York’s Chelsea Hotel. And for the last decade, it’s been about renovation and ongoing construction, and the persistence of a few long-time residents. Co-directors Maya Duverdier and Amelie van Elmbt deliver an unconventional documentary in that it doesn’t focus on the Chelsea’s iconic place in NYC history. It doesn’t focus on the idols who created art here. In fact, the history of the place takes a backseat to the current residents and the never-ending construction, neither of which are as entertaining as the legendary past.

In a tease, the film opens with a young Patti Smith waxing poetic about what Dylan Thomas might have glimpsed from the same rooftop. This is followed by a montage featuring the instantly recognizable faces of Janis Joplin, Jimi Hendrix, Leonard Cohen (“Chelsea Hotel #2), Marilyn Monroe, Bob Dylan, Andy Warhol, Arthur C Clark, and Salvador Dali, amongst others. That gives you some idea of the place the building holds in the history of art. We then cut to the elderly residents trudging through hallways that are covered in plastic and littered with wires. Some chat it up with the construction workers, while others seem oblivious to the inconveniences – likely just resigned to the daily obstacles.

Most tenants took the buyout offer from the new owners, while others cling with all their might to the low-rent (both definitions) living they’ve grown accustomed to. The Christmas tree in the lobby may or may not indicate the season, and mostly we realize the misery in trying to live one’s daily life amidst the constant accompaniment of hammering, drilling, and sawing. This is more a Sociological case study on gentrification than anything else, despite the filmmakers attempts to tie in the past by projecting the famous faces on the walls.

The closest comparison to Hotel Chelsea is Los Angeles’ equally infamous Chateau Marmont. A 2008 documentary entitled, CHELSEA ON THE ROCKS, provides an interesting look at Chelsea’s historical relevance in the art world, something co-directors Duverdier and van Elmbt seem to care little about. There are two approaches to the Hotel Chelsea that might hold our interest: the past or the future. Unfortunately, this look at the present merely scratches something that doesn’t itch.

Opening in theaters and On Demand beginning July 8, 2022

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Posted by David Ferguson

THOR: LOVE AND THUNDER (2022)

July 5, 2022

Greetings again from the darkness. With a steady stream of Marvel movies and TV serials, maintaining coherent and connected storylines has become challenging. In fact, it’s probably best if fans take these at face value, rather struggling to connect the dots, only to end up frustrated. Perhaps no one understands this better than Taika Waititi, the director behind what many (including me) consider the best MCU film, THOR: RAGNAROK (2017). Waititi and co-writer Jennifer Kaytin Robinson once again embrace the blend of quick quip comedy and expected action sequences, supplemented this time a love story.

The pre-opening credits sequence provides the backstory for the film’s villain, Gorr the God Butcher, played by Oscar winner Christian Bale. Gorr has spent a lifetime worshipping the Sun God, only to realize his worshipping has occurred in an actual God-forsaken world that costs him dearly. Gorr ends up learning the lesson of ‘never meet your heroes’, and this confrontation gives him the power and curse of the Necrosword, and sets him on a revenge mission to kill all Gods. We have to respect a villain who has a legitimate claim to his mission – it’s not just a thirst for world domination. Gorr wants the Gods to pay for their ambivalence.

We then pick up Thor Odinson (Chris Hemsworth) as he has been fighting with the Guardians of the Galaxy since the end of AVENGERS: ENDGAME (2019). With no shortage of characters who excel in comedy, this sequence shifts us into laughter and light-hearted mode after the bleak Gorr opening. It’s this pacing that holds for most of the movie … Waititi never lets things stay too serious for very long. Soon, Thor splits off from the Guardians, as he returns to New Asgard, being run by King Valkyrie (Tessa Thompson). Now based on Earth, New Asgard is a theme park and tourist attraction. One of the features is the theater acting group we’ve seen previously, and this time Matt Damon, Luke Hemsworth, and Sam Neill are joined by Melissa McCarthy as Hela. While this is going on, we learn Thor’s old flame, astrophysicist Jane Foster (Oscar winner Natalie Portman) is now an author being treated for Stage 4 cancer. A trip to New Asgard provides her strength as the shattered Mjolnir hammer magically re-forms in her presence. Jane’s story boils down to whether she wants to try to extend her life through science or live every remaining day to it’s fullest.

Gorr kidnaps the Asgardian kids, forcing Thor, Valkyrie, Korg (voiced again by Waititi), and Mighty Thor/Jane Foster to track him to the Realm of Shadows. Their plan is to stop by Omnipotence City to request assistance from the almighty Zeus (Russell Crowe). They are shocked to discover that Zeus is little more than a colorful televangelist with a Borat accent performing a whiz-bang show so that he can get on to the next orgy. Zeus refuses to assist with an army, but he does manage to chain Thor and strip him nekkid centerstage. The good guys nab Zeus’ golden lightning bolt and head off to rescue the kids and confront Gorr.

In a reverse Wizard of Oz twist, the films turns to Black & White when they reach the Realm of Shadows. It’s an eerie environment befitting Gorr. Bale is certainly at his best when he is terrifying and menacing, although the writing is a bit inconsistent for the character, and sometimes it drifts into Pennywise mode, a definite drop in suspense. The action sequences are fine, but really nothing we haven’t seen before. And that’s probably the biggest issue with all superhero/comic book stories these days. Anything new must come from the story or the characters, and we know the characters far too well at this point.

Waititi’s version delivers many laughs throughout. Among the best is the odd relationship between Thor and his hammer Mjolnir and his axe Stormbreaker. Thor’s jealousy of his ex-hammer hooking up with his ex-girlfriend is almost as funny as Stormbreaker’s jealousy of Thor trying to steal back the hammer. Also cool is Thor’s homage to Jean-Claude Van Damme, and the look of the Altar of Eternity, where one last wish is granted. Maybe not as effective is the apparent Guns ‘n Roses fetish or Jane’s struggle to come up with a catchphrase. Sure to be a divisive element is the recurring gag of bleating goats … I found them hilarious, but many won’t. Another piece that simply didn’t work for me is Ms. Portman’s performance, especially in the scenes with Hemsworth. Her comic timing can’t match his, and it’s a match that just never clicks.

Obviously, the characters originated from the minds of Stan Lee and Jason Aaron in Marvel Comics, and it’s Taika Waititi who brings his unique touch to the project. Since he directed THOR: RAGNAROK, he won a screenplay Oscar for JOJO RABBIT (2019), and I’ve been a fan of his style dating back to EAGLE VS SHARK (2007), and on to the brilliant HUNT FOR THE WILDERPEOPLE (2016), and TV series “What We Do in the Shadows”. Waititi is scheduled to direct a Star Wars movie in the near future – one surely to be divisive among that fan base. As for this latest Thor movie, it may be tonally jagged and have a few too many zippy quips for some, but it manages to be silly and tender and emotional, while having the look and feel of a comic book come to life. Stay for the two end-credit scenes.

Opening in theaters on July 8, 2022 (Thorsday)

WATCH THE TRAILER

1 Comment | Action, Comedy, Fantasy, Thriller | Tagged: , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

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