FIRST MAN (2018)

October 11, 2018

 Greetings again from the darkness. “That’s one small step for [a] man, one giant leap for mankind.” Every junior high student learns that Neil Armstrong spoke those words when he became the first person to walk on the moon’s surface in 1969. So while his words are etched into our minds and the televised visuals of the historic event are seared into our corneas, most of us know little of the man who is renowned as an American hero. Director Damien Chazelle (LA LA LAND, WHIPLASH) finds a way to personalize a man’s story without sacrificing the corresponding grandiose theatre and immense danger.

Kicking off with one of the most intense cinematic sequences ever, the film puts us inside the cockpit of a test flight with Armstrong in 1961 as he bounces off the atmosphere and rockets towards near certain death. This opening makes the statement that this is no ordinary man, and this is no ordinary movie … and we are now prepared to hold on tight! Based on James R Hansen’s book, the only biography Armstrong authorized, the script from Oscar winner Josh Singer (SPOTLIGHT) expertly balances the test pilot/astronaut portion with the character study/personality of the man. Intensity is on display throughout – whether in a capsule or during family time.

Ryan Gosling stars as Neil Armstrong, and the story tracks him from 1961 through that famous moment in 1969. What we see is a man who was first an engineer, and then a pilot. A man whose intellect and nerve allowed him to be part of the second group of pilots selected for NASA’s astronaut program in 1962. The first group was the Mercury Seven. He was also a man emotionally devastated by the death of his young daughter Karen (from a brain tumor) and the numerous deaths of friends and associates in the space program. The film clearly shows how he was impacted.

Proving true JFK’s proclamation that the driving force wasn’t that it was easy, but rather that it was quite hard (and dangerous), we glimpse some of the inner workings of NASA, and what becomes clear that the space program was high stakes gambling filled with huge risks – all for a space race against the Russians that was motivated by ego and national pride. Daily danger was part of the job, as was the claustrophobia that comes with sitting in tin can space capsules being monitored by computers far less powerful than the cell phone you are likely using to read this.  Armstrong’s claustrophobia somehow seemed less apparent during his flights than during press conferences or sitting at the kitchen table with his family – providing even more insight into the man.

Claire Foy (“The Crown”) plays Janet Armstrong, the strong-for-the-kids while suffering-in- (mostly) silence homemaker wife. Ms. Foy does a nice job of conveying the emotional turmoil that goes with being an astronaut’s wife, and having no one to share the uncertainty and worry with. Jason Clarke plays Ed White, the first American to walk in space (Gemini 4) and Armstrong’s neighbor and close friend. Olivia Hamilton plays his wife Pat, while Kyle Chandler plays Deke Slayton, and Corey Stoll offers up a not so complimentary portrayal of Buzz Aldrin. Other familiar faces in the cast include Shea Whigham as Gus Grissom, Christopher Abbott as Dave Scott, Pablo Schreiber as Jim Lovell (played by Tom Hanks in APOLLO 13), Ethan Embry, Ciaran Hinds, Patrick Fugit, Lukas Haas, Cory Michael Smith, Brian D’Arcy James, and Leon Bridges.

Meticulous attention to details of the era include kids that actually ask to go play outdoors (and aren’t overly impressed with astronaut dads). The sound design and set designs are phenomenal and complement the outstanding cinematography of Linus Sandgren (Oscar winner for LA LA LAND). The abundance of close-ups allow for an intimacy that makes the awe-inspiring space sequences even more breath-taking. Actual historic space audio is used whenever possible, and director Chazelle doesn’t shy away from showing us the “other side” of the space program: Gil Scott-Heron’s “Whitey’s on the Moon”, writer Kurt Vonnegut publically questioning the program, and many citizens wondering why so much money is being spent on rockets while there were so many other areas (including Vietnam) in need of attention.

The humor is often quite sly, including a scene where his competitive applicants shrug off Armstrong as only a “Civilian”, unaware of his remarkable service and record in the Korean War as a Navy Fighter Pilot. Gosling’s quietly intense portrayal of Armstrong could be termed constrained, but it’s quite fitting given his subject. Composer Justin Hurwitz (Oscar winner for LA LA LAND) delivers and unusual but fitting score, and we can’t help but realize this would make a terrific trilogy bookended by THE RIGHT STUFF (1983) and APOLLO 13 (1995). Chazelle presents a fitting bio of a true American hero (and yes, we can see the flag on the moon), while also giving us a look at the harrowing process of putting folks into space. It’s on us to decide if it’s worth it, but leaves no doubt that President Kennedy was right … it is hard.

***On a personal note, I attended the first year of Edward H White Middle School in San Antonio, and his widow Pat White came to the Grand Opening. I vividly remember what a classy lady she was and how proud she was of her husband.

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GOLD (2017)

January 26, 2017

gold Greetings again from the darkness. What is your dream worth? Would you sell it? How much would it take? Kenny Wells is a dreamer. Sure, he is a third generation mining prospector, but he’d rather tell you the story of his grandfather and those mules than actually dig in the dirt himself. In fact, talking is what he does best (and most often). It’s the first film from director Stephen Gaghan since his 2005 Syriana, for which he received an Oscar nomination for his screenplay. This time he collaborates with writers Patrick Massett and John Zinman to deliver a blend of The Wolf of Wall Street and The Treasure of the Sierra Madre, with a dash of The Big Short and American Hustle.

Matthew McConaughey is nearly over-the-top in his portrayal of Kenny Wells, a prospector with the spirit of a wildcatter. This isn’t ‘sexiest man alive’ McConaughey, but rather ghastly Matthew. Balding dome, protruding gut, and hillbilly teeth … it’s all there wrapped in a sweaty cheap suit and accessorized with booze and cigarettes. The actor seems to relish the role.

The story kicks off in 1981 Reno, showing Kenny as an eager to please son to his distinguished father played by Craig T Nelson. Flash forward to 1988 and Kenny’s struggling through the recession in an effort to keep his dad’s company alive. His loyal employees work the phones from the musty cocktail lounge where Kenny’s girlfriend Kay (Bryce Dallas Howard) waits tables.

Billed as “inspired by true events”, Kenny goes to great extremes to meet up with legendary geologist and miner Mike Acosta (played by Edgar Ramirez). These two need each other and team up to sniff out a gold mine down the river in Indonesia. What follows is despair, desperation, malaria, elation, big investment bankers, a hostile takeover attempt, political maneuverings, heartbreak, pride, and a surprising twist. It’s a wild ride and doesn’t always take you where you assume it’s headed.

The supporting cast includes Corey Stoll and Bill Camp as part of the Wall Street investment group, Stacy Keach as a supporter and investor of Wells, Toby Kebbell as an FBI agent, and Rachael Taylor as a contrast to Bryce Dallas Howard’s working class character. Also appearing is Bruce Greenwood as the king of the prospector hill and featuring an awful accent that adds to the borderline cartoon feel of some scenes.

Hope and greed could be viewed as a disease, but for Kenny Wells, we are urged to believe it’s all about the dream. What’s left if you sell off that dream? Instead, if you aren’t part of the fraud, maybe you live for that moment on stage when they present you the Golden Pick Axe award, and you finally believe your father would respect you. Iggy Pop and Danger Mouse collaborate on an included song, which somehow fit in with the string of 1980’s music that plays throughout. The rapid and numerous changes of direction will keep you entertained, though we do wonder how much truth from the Bre-X scandal was actually used, and how much was just a chance for McConaughey to go all out.

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CAFE SOCIETY (2016)

July 21, 2016

cafe society Greetings again from the darkness. 80 year old Woody Allen continues to amaze with his proclivity to crank out a movie every year. With such movie abundance comes the inevitable hit and miss conversations. Of course, there are those who have never had a taste for his work and another group who have sworn off his films due to the headlines from his personal life. Still, as a filmmaker, his work is usually good for some analysis and debate.

This time out, Woody’s story is set in the 1930’s and it revolves around a young man from the Bronx who heads to Hollywood in hopes of making something of himself. Bobby (Jesse Eisenberg) is the typical on screen alter-ego for Mr. Allen and displays many of the physical and personality traits we have come to expect. It’s a perfect fit for Eisenberg. Bobby’s naivety takes a beating as he assumes a gofer job under his Uncle Phil (Steve Carell), a power broker agent to the stars. Things really get juicy when Phil directs his secretary Vonnie (Kristen Stewart) to show the local sites to Bobby. As the two youngsters grow closer, Vonnie must choose between the romantic idealism of Bobby, and the luxuries afforded by her older boyfriend (guess who??).

Allen revisits many (if not all) of his familiar themes: religion and the afterlife, misfit relationships, Los Angeles vs New York, jazz, older man/younger woman, and one of his favorites … “what’s the point?” This time he also throws in a nostalgic look at Hollywood by name-dropping some famous stars of the era, but he’s just as quick to flash his lack of respect for the movie industry and seems to compare it to the world of east coast gangsters (such as Bobby’s brother played by Corey Stoll).

This is Mr. Allen’s first digital movie, and it’s his first time to work with legendary cinematographer Vittorio Storaro (3 time Oscar winner for Apocalypse Now, Reds, The Last Emperor). The golden hue and low-level lighting provide a nostalgic feel and warmth to the scenes – even when the characters themselves aren’t so cuddly. Excellent set design and costumes add to the beautiful and classy look of the movie. As always, Allen is working with a deep cast – this one includes Sheryl Lee, Anna Camp, Parker Posey, Paul Schneider, Blake Lively, Jeannine Berlin and Ken Stott.

Life is a comedy … written by a sadistic comedy writer.” It’s the perfect Woody Allen line and we get the feeling he actually believes it. Heard here as a somewhat emotionless narrator, Mr. Allen makes it clear that Bobby’s character (with no apparent skills) is a fish out of water in L.A, but thrives in nightclub management once he returns to the beloved NYC. Bobby’s adventure hardens the young man, while he maintains the mushy core of first love that Woody so adores. Toss in a love triangle and little respect for the women characters, and we end up with a movie that feels like a movie about Woody Allen movies.

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ANESTHESIA (2016)

January 7, 2016

anesthesia Greetings again from the darkness. The comparisons to Crash, the 2006 Oscar winner for Best Picture, will be numerous and understandable. However, rather than an expose’ on racial tension, writer/director/actor Tim Blake Nelson turns his pen and lens towards the somewhat less profound, though still fruitful subject matter of suburban angst amidst the educated elite.

An opening featuring a violent mugging on the stoop of a NYC brownstone grabs our attention quickly, and rather than follow the immediate aftermath, we are instead taken back in time to study the characters and events leading to that tragic moment. The tangled web of intertwined stories is made up of no fewer than fifteen different characters, each of whom is impacted by what happens in that opening sequence.

Sam Waterston plays a beloved Columbia University Philosophy Professor who is exceedingly happily married to Glenn Close. Director Tim Blake Nelson plays their son, who is married to Jessica Hecht, and together they have a teenage son and daughter (Ben Konigsberg, Hannah Marks). Michael K Williams plays a big shot attorney who forces his best friend (K Todd Freeman) into drug rehab with a renowned doctor (Yul Vazquez), while Gretchen Mol plays the mother of two daughters and wife of Corey Stoll.

All of the above might seem simple enough, but Mr. Nelson’s script jumbles things up for each character … just like what happens in real life. Waterston discovers that his prized pupil (Kristen Stewart) has psychological issues and needs professional help – just as he decides it’s time to retire from teaching. While their kids are smoking pot and exploring sexual frontiers, Hecht and Nelson are dealing with a medical dilemma. During his rehab, Freeman is quietly confronted by a nurse while being let down by his only friend; and as Ms. Mol turns to the bottle to numb her daily pain, her hubby is making plans with someone else (Mickey Sumner) … and China may or may not play a role. Whew!!

Daily life creates many opportunities. Some of these turn out good, while others seem destined to create pain. It’s that pain … sometimes quite arbitrary … and how we deal with it, which is at the core of these characters and their stories. There is also the always-present quest for truth and search for the meaning of life. We know we are in for a ride when Waterston’s character says “I used to believe in nothing. Now I believe in everything.” Worlds colliding at every turn keep the pace of the film brisk, and the familiar cast of actors allows us to easily accept each of the characters. A bit more polish on the script could have elevated this, but even as is, the film delivers a worthy punch, and has us questioning if we should be “planting cabbages” (Montaigne).

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BLACK MASS (2015)

September 19, 2015

black mass Greetings again from the darkness. Movie goers tend to fall into one of two groups when it comes to Johnny Depp – big fans or denigrators. Whichever side of the line you fall, there are few actors who can claim such a diverse career of on screen characters ranging from Edward Scissorhands to Gilbert Grape; from Donnie Brasco to Captain Jack Sparrow; from Willy Wonka to Sweeney Todd; and from John Dillinger to Tonto. Depp now turns his talents towards one of the most unsympathetic real life characters imaginable … South Boston’s infamous crime lord James “Whitey” Bulger.

Director Scott Cooper (Crazy Heart, Out of the Furnace) proves yet again that he is an actor’s director, rather than a visual technician or story addict. In this adaptation of the book from “Boston Globe” reporters Dick Lehr and Gerard O’Neill, Cooper has Depp and Joel Edgerton as his two leads, and an incredibly deep supporting cast that provide the look and feel for this period piece dramatizing the crime and corruption during Bulger’s reign.

When one thinks of the memorable kingpins of crime/gangster movies, those that come to mind include Michael Corleone (The Godfather movies), Tony Montana (Scarface), Jimmy Conway (Goodfellas), and Frank Costello (The Departed). The Costello character was supposedly partially inspired by Bulger. What made each of these characters fascinating to watch was the insight we were given into the psychological make-up of each and the inner-workings of their organization.  And that’s the disappointment of Cooper’s film.

For the Whitey Bulger story, there are two distinct directions to explore: the building of Bulger’s criminal empire, or the motivation of the FBI Agent John Connolly (Edgerton) as he juggled his job and relationship with Bulger. Unfortunately, the approach here is to show a hand full of cold-blooded murders to prove Bulger’s management style, and a few FBI meetings that show the obvious uncertainty within the agency. Rather than a muddled mash-up, a more interesting movie would have chosen a path and dug in deeply.

Despite the story issues, it is fun to watch how Depp and Edgerton tackle their roles. Under heavy make-up (wrinkles, receding hairline, hillbilly teeth, and crazy contact lenses), Depp becomes the intimidating force of Whitey Bulger. Just as impressive is Edgerton as Agent Connolly, as we witness the Southie neighborhood boys all grown up, but still playing cops and robbers … and it remains difficult to tell who the good guys from the bad. Edgerton’s cockiness and strutting capture the ego and ambition necessary for a federal agent to bend so many rules. In fact, despite the vastly different approaches, it’s not entirely clear which of these two fellows possesses the greatest ambition.

Benedict Cumberbatch plays Billy Bulger, Whitey’s younger brother who became a State Senator. We get very few scenes featuring the brothers, and in fact, Cumberbath’s best scenes are instead shared with Edgerton. It’s difficult not to chuckle at their first meeting in a restaurant as we watch a Brit and Aussie talk it out with south Boston accents. Kevin Bacon, David Harbour and Adam Scott play Edgerton’s fellow FBI agents, while Jesse Plemons, Rory Cochrane (especially good) and W Earl Brown make terrific Bulger crew members. Peter Sarsgaard leaves quite the impression as a doped-up associate, while Julianne Nicholson, Dakota Johnson and Juno Temple provide the film’s minimal female presence. Corey Stoll storms onto the screen as a Federal Prosecutor who is not amused by the relationship between Connolly and Bulger, but this movie belongs to Depp and Edgerton.

The concern is that any viewer not already familiar with the Whitey Bulger story may find the story not overly interesting, despite the terrific performances. Fortunately, this viewer was mesmerized by last year’s exceptional documentary entitled Whitey: United States of America v James J Bulger … a must see for anyone who wants full details into the Bulger reign of crime and terror, as well as his 20 years on the lam.

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GLASS CHIN (2015)

June 24, 2015

glass chin Greetings again from the darkness. “Glory Days, well they’ll pass you by” is a familiar line sung by Bruce Springsteen, and writer/director Noah Buschel brings that New Jersey sentiment to his latest film. We follow the travails of a former boxer struggling with the faded spotlight and his perceived lack of respect, while also seemingly oblivious to the maintenance his personal relationship requires.

Corey Stoll (familiar to “House of Cards” fans) plays Bud “The Saint” Gordon, a retired boxer whose self-named local neighborhood hangout recently closed its doors. Bud is trying to figure out how to reclaim the good life afforded by his boxing winnings, and is opposed to his girlfriend Ellen (Marin Ireland) taking a waitress job to help out. He agrees to train a young up-and-coming boxer prepare for a fight, while also agreeing to work with a shady shyster named J.J. (Billy Crudup). Bud and J.J. have a history, and it’s soon pretty clear that J.J. is some type of offbeat (he owns a snow leopard) kingpin or mobster, who finds a financial and psychological edge in all dealings.

Yul Vazquez plays J.J.’s lead henchman and has the “flashiest” (his character name is Flash) role in the film, although Crudup’s character could have been even more fun if allotted more screen time. Also making brief appearances are Kelly Lynch, Katherine Waterston, and David Johansen. Of course, Mr. Johansen is a former member of The New York Dolls, and their song “Trash” plays a key role in one of Bud’s earliest scenes working with Flash.

There is an unmistakable class theme – the have’s vs the have-nots. The two sides are clear in Manhattan vs. New Jersey, and J.J. vs. Bud. The most interesting part of the story is with Bud’s attempt to figure out the harsh ways of life, even as we viewers recognize he requires no shades for his future. Although both themes are pretty familiar in the movie world, Mr. Buschel opts to only scratch the surface on both the faded hero and the mob world. Instead, it’s more of a dialogue-driven drama that questions where the line in the morality sand is drawn.

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THIS IS WHERE I LEAVE YOU (2014)

September 21, 2014

this is where Greetings again from the darkness. After watching this movie, I thought about researching whether the boobs of a 76 year old actress had ever been as front and center as they are in this dramedy from director Shawn Levy – not counting Calendar Girls which was for a worthy cause. Luckily I came to my senses, and realized that’s not a topic anyone should google … except maybe a 76 year old man.

Jane Fonda is the actress whose enhanced assets are so prominently featured, and she plays the mother of four adult children brought together to mourn the death of the family patriarch. This is based on the novel by Jonathan Tropper and though it’s watchable enough, it could have benefited from a better script adaptation and a less mainstream comedy director. Mr. Levy provided the popular and entertaining A Night at the Museum, as well as a long list of simple minded movies that didn’t prepare him for the depth of Tropper’s story.

The four “kids” are played by Corey Stoll, Jason Bateman, Tina Fey and Adam Driver. Also joining them under a single roof are Stoll’s desperate-for-a-baby wife Kathryn Hahn, Fey’s two kids and self-professed a-hole husband (Aaron Lazar), and Driver’s engaged-to-be-engaged much older woman played by Connie Britton. If you think that’s an outstanding cast, note that also appearing are Timothy Olyphant (Fey’s brain-damaged former lover), Rose Byrne (she always lusted after Bateman), Dax Shepard (sleeps with Bateman’s wife played by Abigail Spencer), Ben Schwartz as an oddball Jewish rabbi, and Debra Monk (the helpful neighbor and more).

Obviously the issue with so many characters and talented actors is that screen time is limited. Somehow each of these have one key moment in the film, and that may be the biggest issue. Some of these we want to know more about (Olyphant, Byrne, Brittain), while others could have been written out of the script altogether (Lazar, Schwartz, Shepard) and the movie wouldn’t have suffered, and might have improved.

Most of the story revolves around Bateman and his situation – crumbled marriage, lost job, dead father, plus even more. Going through that and facing his sit-com worthy dysfunctional family provides an unending stream of none-too-subtle moments: a basement sleeper/sofa that won’t fold out, roof top talks with his bossypants sister, and even fisticuffs inside the family and out.

This is another in the Suburban-angst sub-genre, and the numerous contrived scenes and formulaic sequences are salvaged only by the talented casts ability to squeeze the moment from the next one-liner. There is so much rage and resentment in this family that we viewers are willing to find humor in the toddler toting his portable potty with him everywhere, or even Bateman taking the expected prat fall in an ice rink. There is little edge to this material, but it’s not difficult to glimpse how the right director could have approached the genius of The Royal Tenenbaums or the original Death at a Funeral, rather than a generic blend of Garden State and August:Osage County.

Britton, Byrne and Batemen all have their moments, and the movie is certainly watchable … though it could have been exceptional as either a straight out comedy or an indie-type drama. No need to email me if you come up with additional films featuring 76 year old boobs.

SEE THIS MOVIE IF: you are up for the challenge of keeping track of the seemingly endless number of characters who have “a moment” during this one

SKIP THIS MOVIE IF: you share the sentiment with me and Jason Bateman’s character that there is no need to focus on Jane Fonda’s “bionic breasts”

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