FACING NOLAN (SXSW 2022, doc)

March 21, 2022

SXSW 2022

Greetings again from the darkness. Having been a baseball fan for as long as I can remember, I can list the handful of players that I got to see play in person who left me in utter awe of their talent. Lynn Nolan Ryan was definitely one of them, so when I saw Bradley Jackson’s documentary listed on the SXSW schedule, I immediately sent my RSVP.

Jackson opens with the numbers: 7 no-hitters, 100.9 mph, 5714 career strikeouts, and 51 Major League Baseball records. Big Tex. The Ryan Express. If he wasn’t flesh and blood, Nolan Ryan could be the lead character in a graphic novel. An intimidating player with a Texas drawl borne of his upbringing in tiny Alvin, Texas. We see a fuzzy clip of Nolan pitching in high school, and his wife Ruth drives us by his childhood home. As a long-time fan, I’m relieved to see that Ruth Ryan is finally exposed as a guiding force in his life and career. Their first date is recalled … watching ROME ADVENTURE (Suzanne Pleshette, Troy Donahue) … as is their second – a baseball game to see Sandy Koufax pitch. Ruth explains that Nolan had no aspirations of a professional baseball career, and instead was determined to become a veterinarian. It was Mets’ scout Red Murff who changed the trajectory of animals and hitters everywhere when he convinced the team to draft Nolan.

Jackson includes interviews with players such as Pete Rose, Randy Johnson, and Jerry Grote (his catcher with the Mets). Rose talked about how difficult it was to face Nolan, while Johnson labels him the most intimidating pitcher of all-time. Others interviewed include Ryan’s biographer Rob Goldman and former President George W Bush, who was one of the team owners when Ryan signed with the Texas Rangers.

Some terrific archival footage shows Nolan’s World Series contribution to the 1969 Miracle Mets, his subsequent trade to Gene Autry’s (“The Singing Cowboy”) California Angels, and his early no-hitters and dominance. We learn about the impact of Tom Morgan, his first “real” pitching coach, and later, Ryan’s stunning free agent contract with the Houston Astros – making him the first athlete to sign a million-dollar contract. Jackson even includes the replay of the moment in 1973 when Norm Cash came to the plate with a table leg instead of bat to face Ryan during his second career no-hitter.

More footage is shown of Ryan’s 5th and 6th no-hitters, including Terry Puhl’s running catch. What a fun moment it is when Mr. Puhl proves that, even to this day, he still has the clip of that catch on his iPhone. And yes, it was the Astros’ blunder of inviting Nolan to take a ‘hometown’ pay cut, that drove him to sign with the cross-state rival Texas Rangers and write the final chapter of his storied baseball career. What followed was his 300th win, his 5000th strikeout, and remarkably, his 7th no-hitter. Of course, one of the most famous events of Ryan’s career occurred in 1993 when Robin Ventura charged the mound against the 46-year-old Ryan. What’s fascinating is how this is tied back to a previous incident with Dave Winfield years ago. Winfield discusses what happened, while Ryan admits to the impact.

The baseball content served up here is enough for any fan, but the real insight comes from the talks with Ruth and Nolan and their family members. Sure, he spent 27 years in the league and delivered a humble Hall of Fame induction speech (which is included here), but at the core of the player is the man with values … the man Ruth chose so many years ago. The kids and grandkids speak of Nolan and Ruth as role models, and we witness firsthand the difference between the Hall of Fame pitcher and the man fishing on the riverbank or at the head of the table for family meals. We have Red Murff and Tom Morgan to thank for the pitching, Ruth Ryan to thank for the man, and Bradley Jackson to thank for this profile.

WATCH THE ENTIRE MOVIE ON NETFLIX


SOFT & QUIET (SXSW 2022)

March 21, 2022

SXSW 2022

Greetings again from the darkness. If you prefer your movies light-hearted, good-natured, and relaxing to the spirit, then you need to avoid writer-director Beth de Araujo’s first feature film at all costs. I’m not sure I’ve ever been more uncomfortable watching a movie than I was during this one. Whatever you do, don’t assume that a story featuring a group of young women meeting in a church for snacks and socializing will be cute or funny. This is neither. In fact, I’m at a loss for the properly descriptive words.

It doesn’t take long for us to realize these ladies aren’t soccer moms here to discuss cupcake recipes or romance novels. When Kindergarten teacher Emily (Stefanie Estes) pulls the cover back from the homemade pie she baked, the swastika carved into the crust is clear as day. Their club, “Daughters for Aryan Unity”, is actually a group of racist bigots filled with extreme hatred towards people of color. Their stated mission is ‘multi-cultural warfare’ and standing up for the place in society they have earned. One of Emily’s phrases is “feminine, not feminist”, and she explains why. This conversation continues until the Pastor overhears and kicks them out of his church.

Adding to the tension and contributing to the profuse feeling of disgust is the filmmaker’s decision to avoid cuts and present real time in one continuous shot. We never get a breather from these despicable people. The big concern with bigotry is that unforgivable words can shift into dangerous actions, and that’s what happens here. A store confrontation over a bottle of wine leads to a prank that goes horribly awry.

I’m not sure if the film is meant as a lead-in to serious dialogue on the topic, or whether it’s a cautionary tale about the dangers of racism and bigotry. Perhaps it’s a reminder that racism and evil behavior is not limited to southern rednecks in pickup trucks. Whatever purpose Ms. de Araujo had in mind, the film (even with a surprise ending) is certainly uncomfortable to watch.


CROWS ARE WHITE (SXSW 2022, doc)

March 21, 2022

SXSW 2022

Greetings again from the darkness. The synopsis for this documentary had me excited to learn about the Tendai sect of monks on Mt Hiei in Japan. Known as “the Marathon Monks”, the sect has been a part of the mountain for more than 1200 years and are known for their extreme tests of physical endurance on the path to enlightenment. Director Ahsen Nadeem set out to explore his own faith, and looked to these monks for guidance.

This is a film of contradictions. It’s not really about the monks, and Nadeem’s true objective seems to be tricking the monks into guiding him through his messy life … a mess he created through his many deceptions. Nadeem seeks out time with Kamahori, a monk in the midst of a difficult 7-year journey to enlightenment. Kamahori has taken a vow of silence, which, as you can imagine, doesn’t make for a much of a cinematic interview. Instead, the monks kick Nadeem off the mountain when his cell phone rings. It’s at this point where we realize Nadeem is all about himself, and the tone of the film shifts.

Raised by strict Muslim parents, Nadeem recollects his childhood for us. It’s this background that allows us to understand how severe his broken trust with his parents has become. See, Nadeem is engaged to a non-Muslim woman, but he keeps this fact (and her) a secret despite regular Facetime calls. It’s a double-life that continues to get more complicated as the lies and deceptions pile up.

Still seeking answers, Nadeem heads back to the mountain where he meets Ryushin, a monk working the gift shop. We learn Ryushin is a black sheep monk … one who loves sake, ice cream, and heavy metal music (Slayer and Slipknot). Their odd friendship is the most interesting part of the film, and perhaps the portion that most helps Nadeem. Some of the best monk sayings come out in this part, though mostly we (and Nadeem) learn that perception is truth, and that we often lie to ourselves regarding key elements in life. And then Nadeem is again kicked off the mountain.

After returning to Los Angeles for his wedding, Nadeem admits that he still hasn’t told his parents. We find ourselves not liking Nadeem very much and certainly struggling to have any respect for a man who deceives his loved ones. In fact, his wife seems to take our side and is the one who pushes him to ‘come clean’ with the parents he hasn’t seen for 10 years, 3 of which cover his secret marriage. The way this portion is handled is downright despicable and we feel for his parents and the pain they experience.

We can remain in awe of the monks and their extreme physical feats. Walking the circumference of the globe over 1000 days is fascinating, and Kaihogyo – no sleep or lying down for 90 days – is dangerous and incredible. It’s very likely a second viewing of the film would allow for more focus on the spiritual aspects regarding faith and love and self. The contradictions in life – especially those we create for ourselves – are most certainly worth exploring, but our dislike of Nadeem (in spite of his honesty in front of the camera) is too distracting to pull out the wisdom and counseling that is present. Perhaps that is one more contradiction or paradox that we should deal with.


DEADSTREAM (SXSW 2022)

March 21, 2022

SXSW 2022

Greetings again from the darkness. How about a modern day version of THE BLAIR WITCH PROJECT (1999) leaning heavily into our social media world? Co-writers and co-directors Joseph Winter and Vanessa Winter include touches of the multitude of Ghost Hunter-type TV shows while blending humor with a heavy dose of make-up, especially in the film’s second half.

Joseph Winter stars in his film as Shawn Ruddy, a recently disgraced You-Tuber known for dumb pranks (in the mode of Johnny Knoxville) for his show, “Wrath of Shawn.” In an effort to redeem his reputation, Shawn plans to live-stream his overnight in a dilapidated haunted in house in Utah. Built in 1880, it’s known as ‘Death Manor’ due to the history of many deaths that have occurred within its walls. Shawn believes this will make great live content since he’s deathly afraid of ghosts.

The set-up and first half of the film are excellent and a lot of fun. We get to know Shawn for what he is, including his effeminate screams of terror as things go bump in the night … and even sometimes when they don’t. Some of the best moments happen as he reads the viewer comments alongside his live stream. Just when it starts to drag a bit, Shawn’s plan is upended by Chrissy (a terrific Melanie Stone), who claims to be a superfan. She brings a jolt of energy and immediately shifts the tone.

The best horror films employ a setting that takes on a role of its own, and ‘Death Manor’ is perfectly trippy to explore via GoPro and flashlight. The legend of Mildred collecting souls makes for an enticing legend, but the film’s second half goes over-the-top, despite the most creative use of beef jerky and duct tape that you’ll likely see in any movie. It just seems a bit too long, though lovers of midnight movies will appreciate the mixture of comedy and horror.


MASTER (SXSW 2022)

March 21, 2022

SXSW 2022

Greetings again from the darkness. With her first feature film, writer-director Mariama Diallo shows us that the terror of racism need not be blatant and obvious, and can be subtle and generational. Thanks to Jordan Peele, horror films have become de rigueur for exposing and exploring the many facets of racism. Ms. Diallo embraces the genre, while also mixing in the element of classism and entitlement.

Regina Hall is superb as Gail Bishop, the newly hired first black House Master at Ancaster College, a fictional, Ivy League-type school in the northeast that is as old as our country. Also excellent is Zoe Renee as Jasmine, a high-achieving black incoming freshman. A brilliant touch displays the symmetry of move-in day. Gail moves in to a creaky, dusty old home on campus, while Jasmine draws “the room” in dormitory. What is “the room”? Well, there is a legend tied to student deaths and long-ago witch trials … and 3:33am on the clock.

The supernatural forces attached to her room are only part of the challenges facing Jasmine. There is also her roommate played by Talia Ryder, the overall entitlement of other students, and another interesting character – her professor of Literature, Liv Beckman (Amber Gray). Ms. Beckman is friends with Gail, but Jasmine files an official complaint alleging she was targeted on her grade for a paper on racism in “The Scarlet Letter”. Complicating the matter, Ms. Beckman is also black and up for tenure, despite a shaky publishing record and a curious lack of background detail.

The multiple story lines become more intricate with the odd editing and threads as presented. Cinematographer Charlotte Hornsby works wonders with the creep factor, but the editing choices are often curious. Gail’s big career stepping stone introduces her to institutional racism at the institution where she’s employed. The three main characters each have their own story arcs, and the intersections are often quite advanced. However, the multiple stories do create some cinematic obstacles, and not all are handled smoothly, especially in the final act. Still, Ms. Diallo announces herself as a filmmaker to watch, and all three lead actors perform admirably.

In select theaters and on Prime Video beginning March 18, 2022

WATCH THE TRAILER


LINOLEUM (SXSW 2022)

March 21, 2022

SXSW 2022

Greetings again from the darkness. For those of us who spend entirely too many hours of our life watching movies, it’s always a welcome pleasure to stumble upon one that is creative and innovative and entertaining. The first feature film from writer-director Colin West is all that, plus it’s funny and touching and features some science. As an added bonus, it features the always great Jim Gaffigan in a dual starring role.

Mr. Gaffigan stars as Cameron, a middle-aged guy who writes, acts, and films an educational children’s science show for Public Access TV titled, “Above and Beyond”. Imagine a blend of Carl Sagan and Bill Nye the Science Guy. It’s a show he and his wife Erin (Rhea Seehorn, “Better Call Saul”) started together, but now she works at the local Air & Space Museum as the two await the finalization of their divorce.

Cameron has been waiting patiently for a preferred time slot, and one day his producer delivers news that’s both good and bad. The show is being picked up for distribution, but they have hired a new host. In what is anything but the oddest thing to happen so far in the story, Cameron can’t help but notice how much he and the new host look alike – although the personality differences are startling. It turns out the new guy bought the house right across the street from Cameron and Erin, and new guy has a teenage son, Marc (Gabriel Rush), who awkwardly befriends their daughter Nora (Katelyn Nacon).

When a satellite crashes in his yard, Cameron seizes the opportunity to become the astronaut he always dreamt of being by attempting to re-build the tangled mess into a custom rocket ship. Obviously I have left out many details in an effort to avoid spoilers for a story that is at times surreal, and can be best enjoyed going in cold. Other familiar faces appearing briefly in supporting roles include Tony Shalhoub, Amy Hargreaves, and Michael Ian Black. We have seen parallel universe films before, but filmmaker Colin West treats us to something a bit different. It may seem like a low-key affair, but “it’s not that simple.”

Narrative Feature Competition Category – SXSW


THE OUTFIT (2022)

March 17, 2022

Greetings again from the darkness. Graham Moore won an Oscar for his screenplay on Alan Turing’s life in THE IMITATION GAME (2014). Now he has directed his first feature film, one he co-wrote with Johnathan McClain. The final product is a bit unusual in that it takes place almost entirely in one spot … a tailor’s shop … and features only a handful of characters. It’s a film that would transition easily to the stage for live performances.

Mark Rylance (Oscar winner for BRIDGE OF SPIES, 2015) excels here as Leonard, a Savile Row-trained tailor now working his craft in his own shop in 1956 Chicago. His path from London to the windy city is a bit murky, but we immediately take note of Leonard’s calm and elegant presence accompanied by his soothing voice. Rylance uses that voice as narrator to explain the intricacies involved with creating a man’s suit, and the importance of reading the man prior to utilizing the 4 fabrics and 38 pieces that make-up the outfit. Leonard is also protective of Mable (Zoey Deutch, ZOMBIELAND: DOUBLE TAP, 2019), his assistant who dreams of traveling the globe.

An early montage shows us how the mob utilizes Leonard’s shop for drops, and trusts him due to his ‘see no evil, hear no evil, speak no evil’ demeanor. Leonard is one cool dude, and it’s obvious we (and the mob) are underestimating him … but we can’t quite figure out why or by how much. One crazy night changes everything. Richie (Dylan O’Brien, THE MAZE RUNNER franchise) is brought into the tailor shop after being shot by a rival gang ambush. He’s accompanied by Francis (Johnny Flynn, EMMA., 2020), and the dynamics between these two is quite interesting. Richie is the son of the Boyle family patriarch and has been seeing Mable on the side, while Francis is the favored employee after saving Roy Boyle (Simon Russell Beale) by taking gun fire. Richie is a whiny, spoiled wannabe tough guy, while Francis is volatile and constantly sneering.

What follows is a bit Hitchcockian. We have plot twists, murder, backstabbing, danger, and surprises. When it’s discovered the Boyle family has a rat that is feeding details to the rival cross-town gang and the FBI, things get tense thanks partially to a MacGuffin audio tape. It all leads to confrontations in the shop, and some nice scene-chewing from Simon Russell Beale and Nikki Amuka-Bird as the leader of the rival gang. An elaborate plan by one of the characters is a pleasant surprise (to us, not the others). As Leonard points out on a couple of occasions, he’s a “cutter”, not a tailor – a distinction he takes as seriously as his skill with shears. The film’s title has double meaning: the suits Leonard crafts, and the national syndicate that involves the Boyle family. Most of this we’ve seen before, but it’s Rylance’s portrayal of Leonard that offers a different look and feel. Fans of deceptive thrillers will find some joy here.

Opens in theaters on March 18, 2022

WATCH THE TRAILER


DEEP WATER (2022)

March 17, 2022

Greetings again from the darkness. Based on his work, arguments can be made on both sides. Director Adrian Lyne is either a staunch believer in monogamous marriages, or he enjoys mocking the concept altogether. Surprisingly, this is his first film in 20 years since UNFAITHFUL (2002). To refresh your memory, he’s also the force behind 9 ½ WEEKS (1986), FATAL ATTRACTION (1987), and INDECENT PROPOSAL (1993). Co-writers Zach Helm and Sam Levinson have adapted the script from the 1957 novel by Patricia Highsmith, who also wrote “The Talented Mr. Ripley” and “Strangers on a Train”.

Do you know I love you?” When one spouse feels the need to ask about love rather than declare it, you know it’s an unusual marriage. And in the category of unusual marriages, you’d be hard-pressed to find an arrangement more bizarre than the one between Vic (Ben Affleck) and Melinda (Ana de Armas). Thanks to real life public drama for Will Smith and Jada Pinkett, we all know that “open marriages” are a thing. But this with Vic and Melinda is neither fully “open” nor fully a marriage. Vic invented and sold a computer chip used in drones (mostly for warfare) and he’s so rich, that he’d rather watch his free-spirited wife drag home new boy-toys than give her an expensive divorce. But that’s as much explanation as we receive for what seems like a lose-lose-lose scenario. That third lose is for Melinda’s gentlemen friends who seem to mysteriously disappear once Vic becomes aware of them. One is gone before the movie even starts, and he’s followed by Jacob Elordi, Brandan Miller, and Finn Wittrock.

Perhaps the biggest mystery here is in deciding who displays more charisma, Affleck in this role or the snails that his character Vic breeds. We’ve joked about actors sleepwalking through roles before, but there are scenes here where that may actually be happening. Affleck mostly just dead-eyes Melinda and her men, though we are supposed to interpret his lack of expression as a combination of anger, jealousy, and lust. Fortunately, we have Ana de Armas to liven things up. She’s a full-grown party girl going through various stages of designer dress and un-dress. The supporting cast is comprised of Dash Mihok, Lil Rey Howery (who is in every movie these days), Kristen Connolly, Grace Jenkins as the smarter-than-parents kid to Vic and Melinda, and Tracy Letts as a curious novelist constantly side-eyeing Vic as research for a new book.

Is it cheesy? Yes. Is it sleazy? Yes. Despite twenty years of no movies, director Lyne delivers another high-gloss, play-pretend trashy erotic thriller that will fit perfectly in the streaming world. Affleck disappoints here after strong turns in THE TENDER BAR (2021) and THE WAY BACK (2020), and Ms. de Armas will next appear as Marilyn Monroe in BLONDE. Ben and Ana had their tabloid moment as a romantic couple after filming, but she is now the gone girl, and he has since reunited with JoLo. There are too many gaps in the story and characters for this to be considered a serious movie, but it’s sure to be entertaining enough for many.

Premiers on HULU beginning March 18, 2022

WATCH THE TRAILER


THE TORCH (2022, doc)

March 17, 2022

Greetings again from the darkness. When Buddy Guy pops up on my playlist, I can feel it. After watching Jim Farrell’s documentary, I now know why. Sure, Buddy Guy has won 8 Grammy Awards, been inducted into the Rock n Roll Hall of Fame, been awarded a Kennedy Center Award, and the Presidential National Medal of Arts. He has also influenced most every known guitar player from Hendrix to Clapton to Beck to Page to Stevie Ray Vaughan to John Mayer, and so on. But it’s not until you watch him play that it all comes into focus. Buddy Guy finds joy in playing, and he also carries the burden of keeping the blues alive.

Howlin’ Wolf died in 1976. Muddy Waters died in 1983. When BB King died in 2015, the legacy of the blues fell to Buddy Guy, and now he’s doing what he can to ensure it lives on … he is 85 years old, after all. So part of Farrell’s documentary is about the legacy of the blues and Buddy Guy, and part of it focuses on Buddy’s mentoring of guitar phenom Quinn Sullivan. We get some background on both men. Buddy was born and raised on sharecropper farm in Louisiana. He was crafting his own instruments by age 7 using wire, string, nails, and rubber bands. After playing with Howlin’ Wolf and Muddy Waters for Chess Records, he will forever be associated with Chicago blues. Sullivan, a natural guitarist, first played on stage with Buddy in April 2007, at the age of seven. Since then, the two have bonded, performed, and recorded together.

Sullivan is truly the heir apparent, and Farrell includes footage of Quinn and Buddy performing live on stage together … quite a musical experience for those in the room. We also see the two chatting it up – Buddy telling his stories and Quinn soaking it in. And as amazing as it is to watch them on stage, it’s a rare treat to be allowed in the studio to film them recording a song. Farrell includes some interviews (Carlos Santana and others), and Buddy’s reverence for Howlin Wolf and Muddy Waters is understandable. We are left with the hope that Buddy’s polka dot playing days continue for many years and that Quinn Sullivan appreciates the torch being passed to him.

WATCH THE TRAILER


JANE BY CHARLOTTE (2022, doc)

March 17, 2022

Greetings again from the darkness. Fearless, brave, and risk-taking. These are words often used to describe the acting choices of Charlotte Gainsbourg, who has been on screen regularly since she was a teenager. And it’s no wonder, given a resume that includes such films as NYMPHOMANIAC VOL I and II (2013), MELANCHOLIA (2011), and ANTICHRIST (2009). But it’s likely she’s never been more reticent than when directing her first film … a documentary on her mother, actor and singer Jane Birkin. This is anything but another profile of a famous person. No, this is something so intimate and personal that we often feel like we are eavesdropping and invading the privacy of mother and daughter.

We open with Jane singing on stage with the symphony at Bataclan Paris. It’s a reminder of how this icon from the ‘swinging 60’s’ remains a beloved figure today. But this is no career retrospective. In fact, there is very little structure … it’s kind of a meandering journey through the time Jane and daughter Charlotte spend together. Much of it is filmed at Jane’s beautiful riverfront home in France, and it seems Charlotte’s focus is on creating some special moments that she can recall once her 74-year-old mother is no longer around. Death, illness, and aging are all discussed.

Jane Birkin may be best known as the muse to Serge Gainsbourg, Charlotte’s father, and for singing his risqué song, “Je t’ame, moi non plus”. There is an initial awkwardness between mother and daughter, and that’s likely due to the uncertainty over the reason for this documentary. Charlotte, also a photographer, is frequently seen snapping pictures of her mother, even as the film crew does their thing. It’s obvious both mother and daughter are more comfortable with the camera than they are with each other, though they do warm up as things progress.

Jane discusses her propensity to hoard items, rarely discarding anything. She jokes that Charlotte will have to decide what’s to keep once she’s gone. One of the oddest sequences occurs when the two ladies visit Serge’s old home. He passed away in 1991 and it appears the home hasn’t changed much, other than to display items as if it were a museum. Even some of the canned food has exploded since it’s been more than 30 years. It’s kinda creepy and a bit surreal watching them fumble through the place, picking out items that bring back memories.

“The Birkin”, a handbag by Hermes, still sells for thousands of dollars, and Jane makes it clear she still cares about her looks … wrinkles and famously tousled hair. The insecurities and guilt are never really dealt with here, leaving it mostly a project of love and respect. Perhaps Charlotte wanted to ensure that the moments put on film were never about regret and instead about finding joy and comfort together. It seems this is much more a film for these two ladies, and less so for the rest of us. For a more interesting primer, see JANE B FOR AGNES V, a 1988 documentary on Jane Birkin by Agnes Varda. That’s not a home movie.

Opening March 18, 2022 in New York and March 25, 2022 in Los Angeles

WATCH THE TRAILER