OLD (2021)

July 23, 2021

Greetings again from the darkness. THE SIXTH SENSE (1999) and UNBREAKABLE (2000) created a movie bond with filmmaker M Night Shyamalan that will always exist. In other words, I continue to go into each of his projects with hopeful expectations of another classic. Of course, some have been pretty good (SPLIT, 2016), while others are barely watchable (THE LAST AIRBENDER, 2010). His latest lands somewhere in the middle, but does feature a stunning beach setting (Dominican Republic) – one whose tropical beauty hides a sinister reality.

The film’s synopsis is captured in the trailer: tourists experience a mystifying and terrifying phenomenon while on a day trip to a gorgeous secluded beach. The director adapted the film from the 2010 graphic novel “Sandcastle”, written by Pierre-Oscar Levy and Frederick Peeters. Shyamalan specializes in one thing: big and creative ideas. He is a risk-taking filmmaker, but one not always focused on execution, coherence, or details. Especially awkward here is the dialogue. None of these characters talk like real people. Lending to the awkwardness is the attention given to each character’s name and occupation … except for the kids, where age is the significant data.

Due to the nature of the story (and the effects of the beach), the cast is significantly larger than the number of characters. We ride along with one family as they first approach the luxury resort. Insurance actuary Guy (Gael Garcia Bernal) and his wife, museum curator Prisca (Vicky Krieps) are vacationing with their 11 year old daughter Maddox (Alexa Swinton) and 6 year old son Trent (Nolan River). The couple clearly have a strained relationship and appear headed for a break-up. Encouraged by the resort manager to spend the day at a secret remote beach, they are joined by Charles (Rufus Sewell), a surgeon, his calcium-deficient trophy wife Chrystal (Abbey Lee), their young daughter Kara, and the doctor’s elderly mother Agnes (Kathleen Chalfant). Another couple is there as well, nurse Jarin (Ken Leung) and his wife Patricia (Nikki Amuka-Bird), a psychologist. Already at the beach when they arrive is rap star Mid-sized Sedan (Aaron Pierre), replete with bloody nose and the corpse of the woman who accompanied him.

It’s best not to go into specifics about the progression of things for these folks on the beach, but it can be noted that they frantically try to find a way back to the resort. When all attempts prove unsuccessful, that ridiculous dialogue fills in many of the gaps for us, though you should know the science doesn’t hold up … think of it as fantasy instead. As their day at the beach moves forward, other actors take over: Alex Wolff and Thomasin McKenzie are teenage Trent and Maddox, Eliza Scanlen is Kara, and later, Emun Elliott and Embeth Davidtz become Trent and Maddox. It becomes frustrating for viewers as the professions are emphasized: Guy spouts statistics at every turn, Prisca discloses she’s not a pathologist, and Patricia attempts to get everyone to bring their feelings to group. Ugh.

Despite the many missteps and the overall mess of characterizations, Shyamalan (who also appears as the driver who drops them at the beach) does serve up a creative idea – one that will likely get viewers questioning their own mortality and how best to spend time. Mental illness is addressed in a crude manner with Rufus Sewell (a fine actor) bearing the brunt of a poor script, while physical afflictions and the effects of age come off a bit better. The strange looking woman serving up custom cocktails at the resort is Francesca Eastwood (Clint’s daughter), and Shyamalan’s patented plot twist ending does make sense and even has a contemporary feel to it.

Opening in theaters on July 23, 2021

WATCH THE TRAILER

2 Comments | Drama, Horror, Thriller | Tagged: , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

BABYTEETH (2020)

June 18, 2020

 Greetings again from the darkness. There is no logical explanation for how an Australian indie film, the first feature from director Shannon Murphy, can contain so many elements: a terminally ill teenager, first love, addiction, music lessons, questionable parenting, comedy, a small time drug dealer, a defensive smoking pregnant neighbor, a clueless classmate, a school formal, multiple wigs, a music teacher, a smorgasbord of prescription and illegal drugs, a doctor and dog both named Henry, a bad haircut, and a broken 4th wall … all kicked off by a bloody nose during the ‘meet cute’ at the train stop.

The best explanation for how this crazy jigsaw fits together is the extraordinary work from director Murphy, the tremendous performances from the talented cast, and the exceptional script (her first screenplay) from Rita Kalnejais, which she adapted from her own play. That cast is made up of screen veterans Ben Mendelsohn (always great) and Essie Davis (the mother in THE BABADOOK, 2014), as well as rising star Eliza Scanlen (so memorable in “Sharp Objects”), and relative unknown (but probably not for long) Toby Wallace. Support work is provided by Emily Barclay, as the neighbor mentioned above, and Eugene Gilfedder as the music teacher.

Sixteen year old Milla (Ms. Scanlen) has terminal cancer. Her resigned demeanor turns to excitement when she meets Moses (Mr. Wallace), a gangly hyper-active ball of energy who looks her in the eye through his own blood-shot peepers. She falls quickly and hard. When Milla invites Moses to dinner, her parents Henry (Mr. Mendolsohn) and Anna (Ms. Davis) are as shocked and confounded as any parent would be – and least of all at her haircut. They forbid Milla to see Moses, and we all know how well that approach works for parents.

Henry is a psychiatrist who walks to work, which sometimes leads to an exchange with his new neighbor Toby – the one who has a dog named Henry, and whose defense of her smoking while pregnant stuns us and Henry (the man, not the dog). Milla’s mother Anna was a musician, and now suffers from bouts of depression. She’s heavily medicated thanks to her husband who can legally prescribe drugs for her. Moses has been cast out by his own mother in an effort to protect her younger son, and Milla views Moses as a way to live life before dying.

Director Murphy uses segment/chapter titles to distinguish the bouts of dysfunction, and to allow time to skip ahead. Initially we find ourselves asking the same question Henry and Anna ask, why would Milla go ‘slumming’ for a guy like Moses? We all slowly come around to accept what’s happening. It’s all about feeling as much as possible and experiencing what she can before it’s all over. Time remaining is her motivation.

There are some terrific moments throughout – some easier to watch than others. Milla’s clueless classmate’s selfie is excruciating for us and Milla, and when Anna tells Henry, “This is the worst possible parenting I can imagine”, every parent can relate. The actors are in fine form here, each making their character relatable without being showy – even Milla’s breaking the 4th wall is understated. The film teeters between pain and underlying humor, and balances on the edge of melodrama without tipping. The closest film I can recall in tone and style is Mike Mills’ underrated THUMBSUCKER (2005). With characters that come across as sincere and organic, director Murphy offers up a heartbreaking celebration of living while you are able. Chaos is inevitable, so we might as well accept it.

IFC Films presents this On Demand and in some theatres June 19, 2020

watch the trailer:

1 Comment | Comedy, Drama | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

LITTLE WOMEN (2019)

December 23, 2019

 Greetings again from the darkness. More than 150 years have passed since Louisa May Alcott’s novel was published (volume 1 was published in 1868, volume 2 in 1869). By my count, there have been seven previous movie adaptations, dating back to the silent film era and through the more familiar George Cukor-Katharine Hepburn (1933), Mervyn Leroy-June Allyson (1949), and Gillian Armstrong-Wynona Ryder (1994) versions. One might think that sufficient, yet, after viewing this latest, you’ll likely join me in believing that director Greta Gerwig and Louisa May Alcott (and by natural extension Jo March) are kindred spirits … timeless storytellers of the moment.

Oscar nominated (writing and directing) for her standout LADY BIRD (2017), Ms. Gerwig remains true to the beloved source material while adding her own contemporary touch. She begins with the adult March sisters and then flashing back 7 years to the stage of living together and battling through the difficult and awkward transitional phase. The four sisters Jo (Saoirse Ronan), Meg (Emma Watson), Amy (Florence Pugh), and Beth (Eliza Scanlen) are exceptionally well cast, and we immediately recognize the familiar personality traits of each. Jo is the serious, determined writer who has an understanding of financial necessities. Meg is the warm facilitator beloved by all. Amy has ambitions (or is it dreams?) of being a great artist and living an exceptional life. Beth, the youngest, radiates a sweet nature and love for the piano.

Much of the story is told through the eyes of Jo. Her independent spirit and frustration with how the world is, boils over at times. She states her disappointment at being born a girl, and is described as having “a nature too noble to curb.” While viewing, one must keep in mind that this was the Civil War era (the girls’ father is a military Chaplain), and women had achieved very few rights in society. The contrast is never more evident than when comparing Marmee (Laura Dern), presented here as a near flesh-and-blood saint, with Aunt March (Meryl Streep), one quite at ease in thumbing her nose at societal norms for one reason … she is rich.

Fans of the novel will be pleased that Timothee Chalamet plays “Laurie Laurence”, who struggles every bit as much as the sisters in finding his way towards adulthood. His scenes with Jo are exceptional. Chris Cooper, not seen nearly enough in movies these days, perfectly captures the broken spirit of Mr. Laurence, a man never quite able to escape his own personal loss. Other key cast members include James Norton as tutor/teacher John Brooke, Louis Garrel as Friedrich (here a Frenchman), and Tracy Letts dropping some deadpan comedy as Jo’s publisher Mr Dashwood.

Ms. Gerwig (perhaps with a future as one of the greatest filmmakers) displays storytelling and cinematic craftsmanship at the highest level. She bounces between timelines (over at least 7 years) and different sisters’ stories, showing how each is so different … yet all interconnected. These spirited sisters, raised in the same modest home, have their own independent thoughts and ideas of how they want to live their lives. This delivers multiple comings-of-age and examines ‘a woman’s place’, whatever that means. In fact, the message is that a woman’s place is whatever she decides, and while her options are many (despite obstacles), her decisions are personal. None of the four sisters are played by American actors, and all four perform admirably. Pay particular attention to Florence Pugh (MIDSOMMAR) and her work as Amy. Also impressive is the Production Design by Jess Gonchor and the score by 2-time Oscar winner Alexandre Desplat. This one is all about the storytelling and characters, so take in the bunch known as the March sisters. As a side note, Greta Gerwig’s next movie is a live-action BARBIE movie, with Margot Robbie in the lead.

watch the trailer:

1 Comment | Drama | Tagged: , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson