Greetings again from the darkness. It was a good news – bad news kind of day for westerns. First, it’s announced that Mel Gibson will direct a remake of Sam Peckinpah’s 1969 classic THE WILD BUNCH. Talk about an undesired and unnecessary project! Fortunately, the movie gods understood this gut-punch and as a peace offering, delivered this near-masterpiece that doesn’t so much re-invent the Western, but rather provides a tonal and stylistic twist to the genre.
This is the first English language project from writer/director Jacques Audiard, who has previously delivered such powerful and well-crafted films as A PROPHET (2009), RUST AND BONE (2012), and DHEEPAN (2015). Based on the Patrick DeWitt novel, with a screenplay from Mr. Audiard and his frequent collaborator Thomas Bidegain, this latest is a very unusual film that teeters on satire at times, but is simply too bleak to be a comedy – although it’s too darn funny to be an outright drama.
A terrific opening sequence in 1851 Oregon features a nighttime shootout that sets the stage both visually and tonally for what we will experience for the next couple of hours. It’s beautifully shot and there is some misdirection on what exactly the Sisters brothers are made of. John C. Reilly is absolutely wonderful as Eli Sisters, the soulful forward-thinking one who also has a dash of goofiness to him. His younger brother Charlie Sisters, played by Joaquin Phoenix, is the slightly unhinged one who frequently follows in his hated father’s footsteps by drinking heavily. Charlie is alternatingly quietly menacing and drunkenly menacing. The two brothers are hired assassins, and while Eli dreams of a peaceful retirement, Charlie can’t imagine not doing what they do.
The brothers have been contracted by ‘The Commodore’, a rarely seen power broker played in brief glimpses by the great Rutger Hauer. They are to meet up with advance scout John Morris (played by Jake Gyllenhaal with a quasi-British accent) and kill Hermann Kermit Warm (Riz Ahmed), who has supposedly stolen from The Commodore. Of course, there is more to the story. Warm has actually developed a chemical compound that allows for the easy gathering of gold from waterways – remember this is the height of the Gold Rush.
This is kind of a road trip film … only it’s on a horse trail from Oregon to San Francisco, and it’s kind of a buddy film … only it’s two brothers. Along the way, bonds are forged and broken, and paths are crossed with a kind-hearted saloon gal (Allison Tolman), a greedy town lord (trans actor Rebecca Root), and the brothers’ mother played by the always interesting Carol Kane. There is also a cringe-inducing run-in with a spider, an unfortunate end for a favorite horse, and the hilarious first use of a toothbrush. There is also a Dallas joke that drew quite the laughter from my Dallas audience.
It’s such an unusual film, and it’s presented with a non-traditional pace and rhythm. The moments of laughter surround a core with a dramatic story of destiny, the meaning of life, dreams and visions, and the greed of man. All of this is set to yet another terrific score from Alexandre Desplat and the visually striking photography of Benoit Debie. Director Audiard has delivered a bleak comedy or a comical drama, and he’s done so with more than a fair share of violence. Whether you consider yourself a fan of westerns or not, this one deserves a look.
Greetings again from the darkness. It’s not quite a unicorn, but it seems fair to call it a White Harbour Porpoise. Yes, it’s that rare to see a Comedy movie written by a woman, directed by a woman, starring women in a story about women. And it’s that rarity which makes it all the more disappointing when the finished product doesn’t match the expectation.
The cast is loaded with funny people, many of whom are best known for their work on TV. However, that’s not what makes this feel like an aimless TV sitcom straining too hard to make us laugh, often through cheap shock value. The movie leaves us with the feeling that writer Karey Dornetto (“Portlandia”) and director Jamie Babbit (But I’m a Cheerleader, “Gilmore Girls”) have spent too many hours studying the work of Judd Apatow, rather than letting their own voices speak. We are teased with glimpses, but mostly just left wanting.
On the bright side, Judy Greer finally gets a lead role after seemingly hundreds of support roles where she has often been the best thing about a movie. Yet somehow the filmmakers manage to dull Ms. Greer’s natural glow as she plays Shannon, a registered sex offender with little desire to break her sex addiction, or even become the least bit likeable. The very talented Natasha Lyonne plays Martha, Shannon’s younger lesbian sister who is her personality polar opposite, yet never can quite escape the “bad luck” following her around.
Martha decides to make Shannon’s recovery her mission in life, and secures her a job so they can work together as maids at a local motel. What follows is an accidental murder, a frantic attempt to dispose of the body, a mentally challenged housekeeping supervisor, multiple instances of sexual confusion, a sex shop hold-up, blackmailing pet cemetery owners, a profane rapping boy at his bar mitzvah, an inappropriate relationship with a therapist that breaks up a marriage, and a running gag with a chubby hotel guest in a Hawaiian shirt carrying a little dog. All of that zaniness leads to a disproportionately few number of laughs, although we do get a terrific Cousin It impersonation and an extremely rare (maybe a first ever?) Hammer-throw joke.
What’s lacking here, despite the best efforts of Ms. Greer and Ms. Lyonne, is any semblance of humanity or realism … necessities for comedy. We just never make any connection with the main characters. The supporting cast provides numerous diversions and feature the familiar faces of Ron Livingston (the therapist mentioned above), an underutilized Aubrey Plaza, Molly Shannon, the duo of Fred Armisen and Alison Tolman playing opportunistic small business owners, Jessica St Clair as one of the more emotional front desk clerks you’ll ever see, Jon Daly as one of the more unfortunate characters, and Malcolm Barrett as Shannon’s latest love interest/poet.
Of course, in keeping with the film’s title there is a never-ending stream of insults directed at the city of Fresno. If that much attention had been paid to the sister relationship and the forming of characters, perhaps the comedy would have been more effective. Instead, if you are all set on watching sisters working together in the clean-up business, the better recommendation would be Sunshine Cleaning.
Greetings again from the darkness. Joel Edgerton has become one of the more interesting actors working today. His projects range from indies like Warrior and Animal Kingdomto award winners like Zero Dark Thirtyand big budget releases like The Great Gatsby. He has written screenplays, and now comes his feature length directorial debut … and an impressive debut it is.
Simon (Jason Bateman) and Robyn (Rebecca Hall) are seeking a fresh start as they relocate to Los Angeles from Chicago. A new house and new job are an attempt to put an unfortunate situation regarding an unborn child behind them. Things get off to a great start for them as they buy a beautiful house, and Simon is put up for a promotion. An encounter with Gordo (played by Edgerton) leads to some awkward social interactions and some downright creepy stalking.
The film will work best the less you know about it. The psychological thriller aspects never devolve into the slashfest we have come to expect. Instead the film blurs the lines between good guys and bad guys. In fact, it brings into debate what makes a good person … it even states “you may be through with the past, but the past isn’t through with you”. Do our past misdeeds ever totally fade? What about high school bullies … do they mature? Can the proverbial zebra change its stripes? All of these questions and themes are touched.
While you may struggle to identify the protagonist and antagonist, the performances of both Edgerton and Bateman are fun to watch. And it’s Ms. Hall who is the grounding force who initially trusts both men, before questioning everything. There is also a very nice, understated performance from Allison Tolman as an understanding neighbor. Ms. Tolman was terrific in the first year of the “Fargo” series.
Don’t allow anyone to tell you much about this before you see it … just know that it will remind you of the importance of the Golden Rule. Treat others how you would like to be treated … or know that bygones are never bygones.