WOMEN TALKING (2023)

January 12, 2023

Greetings again from the darkness. Do nothing. Stay and fight. Leave. Those are the three options a group of women debate in the loft of a barn on the edge of their religious commune. The true story that inspired Miriam Toews to write her 2018 novel is horrific. Between 2005 and 2009, there were more than 150 cases of females being drugged (with livestock tranquilizers) and violently raped. They ranged in age from three to sixty-five, and this occurred in a deeply religious Mennonite community in Bolivia. The great writer-director Sarah Polley has adapted Ms. Toews’ novel for her first feature since STORIES WE TELL (2012), and we welcome her back as a voice always deserving of a platform.

When two girls spot a rapist running away one evening, an emotional fire is lit. The man is charged, and this leads the women to organize their own meeting to discuss the three options noted above. Rooney Mara plays Ona, the good-hearted optimist. Claire Foy plays her sister Salome who spends much time in rage mode. Jessie Buckley is Mariche, the often brutally abused woman who has her own strong ideas. If you are a movie lover, you immediately recognize that these three are among the best young actresses working today. What a pleasure to watch them do what they do … despite the material often being extremely uncomfortable and stress-inducing. This new generation of community women are joined in debate by the elders: Agata (Judith Ivey) and Greta (Sheila McCarthy), who both carry the burden of shame having raised their daughters in this environment. Scarface Janz (Oscar winner Frances McDormand, also a producer on the film) only has a couple of scenes, as she is stays strong in her ”do nothing” stance.

As the dialogue continues in the loft, we learn much about what these women, as well as the generations before them, have endured. Over the years, whenever victims have spoken up about the horrible abuses, their accusations have been dismissed as “wild female imagination.” The religious patriarchy has led to many years of submission and resignation to a lesser life – one that includes manual labor and a lack of education. These women cannot read or write, so they have asked August (an excellent Ben Whishaw) to take notes and list the pros and cons of the options. August is a gentle soul and the local schoolteacher who has an eye towards Ona.

Revenge, forgiveness, protecting one’s self and their children is all part of the discussion, as is the difference between fleeing and leaving. These women are finding their voice through the strength of each other. Cinematographer Luc Montpellier uses mostly black and white with some subtle color gradation for effect, as well as a contrast between interior (barn loft) shots and those of the outdoor vistas and fields (representing the outside world). The score from Hildur Guonadottier is heavy on strings and works perfectly for the story, and the inclusion of “Daydream Believer” from The Monkees is a welcome inclusion.

We don’t normally think of cinema as watching people sit around and talk. One of the best ever movies showing debate among adults is 12 ANGRY MEN, and this film takes a similar approach and is not far off from the level of that all-time classic. The courage of those real women from Bolivia was staggering, and Sarah Polley offers up this intellectual and thought-provoking approach to these women taking stock of their situation. It’s a gut punch, yet somehow inspiring.

Opens in theaters on January 13, 2023

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Posted by David Ferguson

THE TRAGEDY OF MACBETH (2021)

December 24, 2021

Greetings again from the darkness. The confounding part about screen adaptions of great and familiar literary works is that we have each already formed our mental images of characters and setting. Adapting Shakespeare’s 400 year old play is Joel Coen (4 time Oscar winner, NO COUNTRY FOR OLD MEN), and it’s also his first time to fly solo as director without his brother Ethan. Filmed in black and white on a sound stage, this production may lack the frills we’ve come to expect in modern times, yet while its stark sets recall German Expressionism, the film still manage to deliver memorable visuals.

Denzel Washington (2 time Oscar winner, TRAINING DAY, GLORY) stars as Macbeth, while Mr. Coen’s wife, Frances McDormand (4 time Oscar winner, NOMADLAND) is a perfect fit as the scheming Lady Macbeth. The absolute best and creepiest sequences are thanks to terrific work from stage actor Kathryn Hunter, who plays not one witch, but rather the trio (plus, in true Shakespearian fashion, a fourth character later). Ms. Hunter’s work is a highlight as she contorts her body and rings out prophecy with an exceedingly disturbing voice. She is fantastic. It’s the witches’ prophecy that Macbeth will become King of Scotland that sets into action a chain of events familiar to most of us.

The reasons this didn’t work as well for me as it did for others include Denzel’s extremely low-key performance in the first half, and more crucially, the film lacks that unbridled lust for power that so attracts me to this particular story. It struck me more as a story of a disgruntled couple than the timeless themes of corruption and lust for power that Shakespeare so expertly crafted. Denzel’s performance does come alive in the second half and he’s quite something to watch. However, it’s Ms. McDormand who nails the Lady Macbeth role and ensures our attention doesn’t drift. Although obvious, it must be noted that these two renowned actors are a bit old for the roles, but interesting enough, this elements adds a different perspective to the characters’ ambitions.

Supporting performances include Brendan Gleeson (is he ever not a standout?) as the ill-fated King Duncan, and Harry Melling as Malcolm and Matt Helm as Donalbain, Duncan’s two sons. Corey Hawkins plays Macduff, Bertie Carvel is Banquo, and Stephen Root is the scene-stealing (and comic relief) Porter. Cinematographer Bruno Delbonnel treats us to some creative shots and angles … and plenty of birds. But of course, it’s Denzel and McDormand who will make or break this for you.

Director Coen does include the familiar lines: “Something wicked this way comes” inspired writer Ray Bradbury, Lady Macbeth’s “out, damned spot” still packs a punch, while Macbeth’s “a tale full of sound and fury, signifying nothing” remains my personal favorite. With the stark sets, Coen serves up a shadowy presentation – or is it a presentation of shadows? It’s a blend of stage and screen, yet never fully both. Despite some of my displeasures and the long-lasting curse, overall it’s a welcome version of “the Scottish play” … although I still prefer reading The Bard’s prose.

Opening in theaters on December 25, 2021 and streaming on AppleTV+ on January 14, 2022

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Posted by David Ferguson

THE FRENCH DISPATCH (2021)

October 28, 2021

Greetings again from the darkness. Few things in the cinematic world are more instantly recognizable than a Wes Anderson movie. In fact, historically speaking, perhaps only Jacques Tati comes as close to having a signature style easily spotted by viewers (unless you want to count Tom Cruise sprinting or Julia Roberts cackling). This is Mr. Anderson’s 10th feature film in 25 years, and I now rate 5 of these very highly, though all 10 have a certain appeal. This latest, co-written by Anderson with frequent collaborators Roman Coppola, Hugo Guinness, and Jason Schwartzman, could be considered his most ambitious to date … and likely the most ‘Wes Anderson’ of all.

Billed as a love letter to journalists, it becomes crystal clear, that by this, Anderson means the esteemed stable of writers from the early days of “The New Yorker”. In fact, Anderson structures the film as if it were following the path of a magazine being published. We are informed upfront that this edition features “an obituary, a travel guide, and 3 feature articles”. An episodic format is not unusual for films, yet Anderson never does anything by the book. Each piece takes place in its own time period, and there appears to be little connection or crossover among key characters. Still, somehow he makes this work by ensuring each piece stands on its own and is filled with unusual characters and those patented, fabulous Anderson visuals.

The obituary is that of Arthur Howitzer Jr (a deadpan Bill Murray), the founder and publisher of “The French Dispatch” magazine, a spin-off from The Liberty Kansas Evening Sun … a move from a small town in Midwestern United States to a charming small town in France (hilariously and fittingly) named Ennui-sur-Blasé. Howitzer adores his writers, and the only guidance he offers them is, “Just try to make it sound like you wrote it that way on purpose”. He also has a “No Crying” sign posted in his office, likely as much as a reminder to himself as a rule for the staff.

Our travel guide section is fortunately quite brief since it involves Owen Wilson as a bicycle tour guide showing us around the town – the “Local Color”- of Ennui-sur-Blasé. This takes us to the first feature story, and the best of the lot. Tilda Swinton excels (doesn’t she always?) as a writer and art expert giving a colorful lecture entitled “The Concrete Masterpiece”. She tells the story of Moses Rosenthaler (Benecio del Toro), a genius modern artist serving a life sentence for murder, and as she lectures, we see it play out. While incarcerated, Moses continues to work and his muse is a prison guard named Simone, played exceptionally well by Lea Seydoux. Her nude posing for him leads to his signature modern art piece, which attracts the attention of an ambitious art dealer played by Adrien Brody.

“Revisions to a Manifesto” is the next feature, and it involves a young activist named Zeffirelli (Timothee Chalamet). He’s a chess expert, quite moody and has a questionable quest. He’s being covered by writer Lucinda Krementz (Frances McDormand), who is unable to maintain objectivity, and inserts herself right into the story, amongst other things. The segment pays tribute to the activism of the 1960’s and is filmed mostly in black and white.

The third feature, “The Private Dining Room of the Police Commissioner” involves writer Roebuck Wright (Jeffrey Wright) telling his story while a guest on Liev Schreiber’s Talk Show in the 1970’s. Roebuck is obviously inspired by James Baldwin, and he famously recalls every line he’s ever written. The story he recites involves a legendary chef played by Steve Park.

Actors mentioned so far are just the headliners, and Anderson has packed the film with his usual troupe, as well as dozens of others – some you’ll recognize, and some you won’t. There are at least seven Oscar winners involved: Christoph Waltz, Fisher Stevens, and Angelica Huston (as narrator), in addition to the aforementioned Swinton, McDormand, del Toro, and Brody. Numerous Oscar nominations and awards are included in the group of other familiar faces like Willem Dafoe, Saoirse Ronan, Edward Norton, Lois Smith, Henry Winkler Bob Balaban, Elisabeth Moss, and Mathieu Amalric.

Other frequent Anderson collaborators who deliver standout work include Production Designer Adam Stockhausen, Cinematographer Robert Yeoman, Editor Andrew Weisblum, and composer Alexandre Desplat. The film looks and sounds remarkable, and somehow it doesn’t feel like it’s moving fast – although we can barely keep pace. The film can be compared to ordering a flight at your local distillery. Each flavor is tasty, but they may not add up to a full drink.

Wes Anderson has delivered another stylish, fun film to watch, and one that is endlessly entertaining. It may not have as many moments of laughter as some of his previous films, yet there are still plenty of sight gags, insider references, and light-heartedness bathed in nostalgia – even if it’s not quite as whimsical. Shot in the French town of Angouleme, the visuals are as impressive as any you’ll find, serving up a collage of time, caricatures, color, and topics.

Opening nationwide in theaters on October 29, 2021

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Posted by David Ferguson

NOMADLAND (2021)

February 20, 2021

 Greetings again from the darkness. Traditional beauty is nowhere to be found in filmmaker Chloe Zhao’s extraordinary film adapted (by Ms. Zhao) from Jessica Bruder’s 2017 award-winning book, “Nomadland: Surviving America in the Twenty-First Century”. There are no breathtaking shots of majestic sites like the Grand Canyon, and the people we meet rarely bathe, and are not concerned with fashion. Despite this, the film can best be described as one of the most beautiful and most unique cinema experiences in years. Ms. Zhao provides a look at America’s roads and landscape through the eyes of folks that society tends to overlook.

A significant reason this film works is the incredible performance by two-time Oscar winner Frances McDormand (FARGO, 1996, and THREE BILLBOARDS OUTSIDE EBBING, MISSOURI, 2017). She plays Fern, a strong woman who refuses to let grief suffocate her. Her hometown of Empire, Nevada was erased from existence in 2011 when US Gypsum shut down the local plant, resulting in the town’s zip code being discontinued a few months later. As if her town disappearing wasn’t enough, Fern’s husband passed away, leaving her with little evidence of a life to which she had grown accustomed. We watch as Fern packs up her van and hits the road.

Her first stop is working at an Amazon distribution center during the holiday rush season. She lives out of her van as part of the company-sponsored CamperForce program. When the season is over, Fern hits the road again. We slowly get a feel for this subculture of van-dwelling nomads, young and old, who travel the country’s backroads and keep to themselves, except when they gather to form a temporary community of similar-minded individuals. Fern makes it clear she is “house-less”, not “homeless”, and has nicknamed her customized vehicle, ‘Vanguard’.

Fern thrives on her solitude, but is also friendly enough to connect with others wherever she stops driving or works. She joins the annual gathering of Bob Wells’ community/tribe, and her other odd jobs include acting as a “host” at one of the stops, shoveling sugar beets at a farm, and cooking/cleaning/serving at the famous Wall Drug Store in South Dakota. Along the way she befriends Dave (David Strathairn), a fellow nomad whose dreams don’t necessarily coincide with Ferns. Respected actor Strathairn is the only other familiar face in the film, other than McDormand. Non-professional actors fill the scenes, most of whom are real life nomads kind enough to share their ways in front of a camera.

Director Zhao has reunited with Joshua James Richards, her cinematographer on the excellent 2017 film, THE RIDER. Their work here is a masterclass in taking us into a world most of us know little about, and doing so in a way that combines both the intimacy of people with the scale of nature. Even the sequence where Fern revisits her past life is quietly emotional and done with grace, while also packing a punch. The music from Ludovico Einaudi is exceptional in its complementary nature and ability to leave the quiet moments unspoiled, while also driving our empathy and emotions. This is an extraordinary film with a superb performance, and one that is entertaining, while also proving thought-provoking at a time when so many of us are questioning the sustainability of our current societal structure, and wondering just who will toss a rock on the fire in remembrance.

In theatres and PVOD on Hulu beginning February 19, 2020

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Posted by David Ferguson

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (2017)

November 15, 2017

 Greetings again from the darkness. Once out of our teen years (though some take a bit longer), the vast majority of us accept the obvious truth to the adage “life is not fair”. Despite this, we never outgrow our desire for justice when we feel wronged. Uber-talented playwright/screenwriter/director Martin McDonagh delivers a superb drama blended with a type of dark comedy that allows us to deal with some pretty heavy, and often unpleasant small town happenings.

Oscar winner Frances McDormand plays Mildred, a grieving mother whose daughter was abducted and violently murdered. With the case having gone cold, Mildred is beyond frustrated and now desperate to prevent her daughter from being forgotten. To light the proverbial fire and motivate the local police department to show some urgency in solving her daughter’s case, Mildred uses the titular billboards to make her point and target the Police Chief Willoughby (Woody Harrelson).

The billboards cause quite the ruckus as the media brings extra attention, which in turn creates conflict between Mildred and the police department, the town citizens, and even her own son (Lucas Hedges). The film could have been titled ‘The Wrath of Mildred’ if not for so many other facets to the story and characters with their own layers. Her anger is certainly understandable, though some of her actions are impossible to defend. Things can never again be square in the life of a parent who has lost a child, yet vengeance is itself a lost cause.

Mr. McDonagh’s exceptional script utilizes twisted comedy to deal with the full spectrum of dark human emotions: managing the deepest grief, anger, guilt, and need for revenge. As in his Oscar winning script for the contemporary classic IN BRUGES (2008), his dialogue plays as a strange type of poetry, delivering some of the most harsh and profane lines in melodic fashion. In addition to his nonpareil wordsmithing, Mr. McDonagh and casting director Sarah Finn have done a remarkable job at matching many talented performers with the characters – both large roles and small.

Following up her Emmy winning performance in “Olive Kitteridge”, Ms. McDormand is yet again a force of nature on screen. She would likely have dominated the film if not for the effectively understated portrayal by Mr. Harrelson, and especially the best supporting performance of the year courtesy of Sam Rockwell. His Officer Dixon is a racist with out-of-control anger issues who still lives with his mom (a brilliant Sandy Martin, who was also the grandma in NAPOLEAN DYNAMITE). Caleb Landry Jones once again shows his uncanny ability to turn a minor role into a character we can’t take our eyes off (you’ll remember his screen debut as one of the bike riding boys near the end of NO COUNTRY FOR OLD MEN). Here he plays Red, the owner of the billboards with an inner desire to carry some clout. Rounding out the absurdly deep cast are Zeljko Ivanek, Kerry Condon, Lucas Hedges (MANCHESTER BY THE SEA), Peter Dinklage, John Hawkes, Abbie Cornish, and Clarke Peters (the epitome of a new Sheriff in town). Every actor has at least one moment (and monologue) to shine, and one of the best scenes (of the year) involves Nick Searcy as a Priest getting schooled on “culpability” by Mildred.

Cinematographer Ben Davis has a nice blend of “big” movies (AVENGERS: AGE OF ULTRON) and small (TAMARA DREWE) in his career, and here he really captures the feel of the small town and interactions of the characters. Also adding to the film’s excellence is the folksy, western score (with a touch of dueling gunfighters) by Carter Burwell. And keeping the streak alive … it’s yet another worth-watching film featuring a Townes Van Zandt song.

Not many films dare tackle the list of topics and issues that are touched on here: church arrogance, police violence, racism, cancer, domestic violence, questioning the existence of God, parental grief with a desire for revenge, the weight of a guilty conscience, and the influence of parents in a rural setting. The film is superbly directed by Mr. McDonagh, who now has delivered two true classics in less than a decade. It’s the uncomfortable laughs that make life in Ebbing tolerable, but it’s the pain and emotions that stick with us long after the credits roll. Sometimes we need a reminder that fairness in the world should not be expected, and likely does not exist. If that’s true, what do we do with our anger? McDonagh offers no easy answers, because there are none. But he does want us to carefully consider our responses.

watch the trailer:

 

 

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Posted by David Ferguson

HAIL, CAESAR! (2016)

February 6, 2016

hail caesar Greetings again from the darkness. Homage or Spoof or outright Farce? Though the Coen Brothers motivation may be cloudy, their inspiration certainly is not. The Golden Age of Hollywood is skewered by the filmmaking brothers who previously applied their caustic commentary to the movie business in Barton Fink (1991). However, this latest seems to borrow more from the unrelated universes of their films A Serious Man (2009) and Burn After Reading (2008) in that it alternates tone by focusing first on one man’s attempt to make sense of things, and then with a near slapstick approach to “urgent” situations.

The film seems to be made for Hollywood geeks. Perhaps this can also be worded as … the film seems to be made for the Coen brothers themselves. Rather than an intricate plot and subtle character development used in their classic No Country for Old Men (2007), this is more a collection of scenes loosely tied together thanks to their connection to Eddie Mannix, Capitol Pictures “fixer”. Josh Brolin plays straight-laced Mannix, a twist on the real Eddie Mannix, notorious for his behind the scenes work at MGM in controlling the media, protecting the stars and studio, and protecting movie stars from their own idiotic actions. He was a real life Ray Donovan. It’s Mannix’s job that creates the hamster wheel to keep this story moving (complimented by narration from Michael Gambon).

We witness a typical day for Mannix as he confesses to the Priest that he had a couple of cigarettes after promising his wife he would quit, negotiates with communists who have kidnapped the studios biggest movie star, deftly handles the studio head’s greedy desire to shift a western movie star into a genre for which he is ill-prepared, plans a cover-up for the starlet having a baby out of wedlock, and juggles the demands of the competing twin gossip columnists searching for scandal. Mannix keeps his cool through all of this while mulling a lucrative job offer from Lockheed that would put him right in the midst of the nuclear war scare.

With an exacting attention to period and industry detail, the Coen’s remind us of the popular genres and circumstances of the era. George Clooney plays mega star Baird Whitlock, working on the studios biggest picture of the year – a biblical epic entitled “Hail, Caesar!” (think Ben-Hur, The Robe, etc). Whitlock is kidnapped by a group of communist writers (not yet blacklisted) who are striking out against a capitalistic studio that doesn’t share the rewards with the creative folks. It’s a different look than what Trumbo offered last year. In a tribute to Roy Rogers and famed stuntman Yakima Canutt, there is a segment on popular westerns featuring Alden Ehrenreich (Beautiful Creatures, 2013) as Hobie Doyle, a popular actor whose an artist with a rope and horse and guitar, but not so smooth on his transition to the parlor dramas being filmed by demanding director Laurence Laurentz (a terrific Ralph Fiennes). In boosting Doyle’s public perception, the studio sets him up on a date with a Carmen Miranda-type played by Veronica Osorio. Her character is named Carlotta Valdez in a nod to Hitchcock’s Vertigo. Another sequence features Scarlett Johansson as DeAnna Moran, an Esther Williams type (with a behind the scenes nod to Loretta Young) in a Busby Berkeley-esque production number featuring the synchronized swimming so prominent in the era. One of the film’s best segments comes courtesy of Channing Tatum in a take on films like On the Town, where sailors would sing and dance while on leave.

Tilda Swinton (whose appearance improves any movie) appears as the competing twin sister gossip columnists Thora and Thessaly Thackery. Her hats and costumes are sublime and pay worthy tribute to Hedda Hopper (who also balked at being termed a gossip columnist). Jonah Hill’s only scene is from the trailer, and it could be misleading to any of his fan’s coming to see his performance; and the same could be said for Frances McDormand (a very funny scene as a throwback editor). And so as not to disappoint their many critics, the Coen’s have a terrific scene featuring four men of various religious sects who are asked their opinion of the script – so as not to offend any viewers. The pettiness is palpable.

Roger Deakins is, as always, in fine form as the cinematographer. The water and western productions are the most eye-catching, but he does some of his best camera work in the shots of individual actors or scenes-within-a-scene. We have come to depend on Joel and Ethan Coen for taking us out of our movie comfort zone, while providing the highest level of production – music, costumes, sets, camera and acting. While this latest will leave many scratching their heads, the few in the target audience will be applauding fiercely.

watch the trailer:

 

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Posted by David Ferguson

THE GOOD DINOSAUR (2015)

December 3, 2015

the good dinosaur Greetings again from the darkness. Two Pixar films in one year? Earlier this year, the brilliant Inside Out reminded us just what sets Pixar apart from other animation studios … the film was intelligent, insightful, thoughtful, beautiful, funny and emotional enough to bring tears to the eyes of many parents. In other words, it’s a tough act to follow – even for Pixar!

Of course, 2015 was not intended to be a double-header for Pixar. The Good Dinosaur ran into serious production and story issues at the same time the studio was going through layoffs and reorganization. So the six year project turned into eight, as a new creative team was brought in (led by director Peter Sohn), and the story and characters were re-worked and re-imagined. The finished product is likely the most staggeringly beautiful animation to ever hit the big screen, while at the same time being some of the darkest and bleakest material ever presented by Pixar.

The premise is pretty interesting: What would Earth be like if THE asteroid had missed, and the dinosaurs survived? That’s about as sciency as the story gets, other than it does portray nature as a colossal adversary (what’s with the hallucinogenic berries?). We first meet Momma and Poppa Apatosaurus as they work their corn fields (huh?) and wait for their baby eggs to hatch. The runt of the litter is Arlo, who just can’t keep up with his more active siblings and who feels inadequate in comparison to his majestic father.

Arlo and nature are responsible for the tragedy that sends Arlo off on a journey that features the full spectrum: the importance of family, the sadness of loss, the strength of friendship, and the self-discovery that leads to independence. While there are quite a few laughs along the way, the fear and isolation that Arlo experiences takes up most of the movie, and could leave all but the strongest kids feeling anything but upbeat and happy.

There is a life lesson about making one’s mark, and an oddball friendship between Arlo and young boy (named Spot??) who is wise to nature. But this one lacks the charm of most Pixar outings, while at the same time reaching technical levels that are breathtaking to behold. It’s difficult to imagine many kids wanting to watch this one again and again, but for all you Pixar nerds, you can rest easy … John Ratzenberger does make a vocal appearance.

watch the trailer:

 

 

 

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Posted by David Ferguson

DIFF 2015 – Day 2

April 12, 2015

 

DALLAS INTERNATIONAL FILM FESTIVAL

Day 2 – Saturday April 11

Below is my recap of the three films I caught on Day 2 of this year’s festival:

 

THE AMINA PROFILE (2015, doc)

DIFF 2015

Social Media has changed so much about society: how information is dispersed, how we present ourselves, how we argue points of view, and even how relationships are structured. This documentary from Sophie Deraspe explores each of these points by dissecting a real world chain of events.

With events taking place during Syria’s Arab Spring of 2011, Amina Arraf started a blog entitled “A Gay Girl in Demascus”, where she wrote about both the dangers of being a lesbian in Syria, and the larger societal issues being faced by the populace living in the shadows of a dominating government regime. Her brave words garnered many followers, while also instigating an online romance with Sandra from Canada.

A few months later, Amina’s blog entries suddenly halt and the concern from Sandra and other readers spreads to international media outlets. Ms. Deraspe offers an interesting blend of styles in her approach. On one hand, some of the first images we see come across as a deep artsy film; and then next thing we are getting is talking head interviews with reporters and other concerned followers mixed with actual TV newscasts from the period.

In order to avoid any spoilers, suffice to say that the story comes in two distinct parts. The second half provides some fascinating psychological studies in regards to trust and narcissism, while also forcing us to further question the complacency of news outlets in this new age of readily available information. As the proverbial onion layers are peeled back, we can’t help but wonder who can be trusted and what steps are sufficient for verification.

Probably the biggest takeaway stems from the realization of just how easily we are manipulated and distracted by media outlets who determine what is “news” (what brings ratings) and what can be overlooked … the often more serious topics such as the Syrians who are still “dying in the dark”. This excellent documentary will provide no shortage of material for discussion and soul-searching.

 

THUNDER BROKE THE HEAVENS (2015)

DIFF 2015

thunder Very few things in life bother me more than seeing kids mistreated. It seems so simple: if we want productive caring adults, it’s our responsibility to raise, train, and treat kids accordingly.

In writer/director Tim Skousen’s film, 13 year old Sam (Alexandra Peters) and her 6 year old brother William Paul (Gavin Howe) manage to escape an unthinkable and violent family tragedy that leaves them without parents. This of course leads to foster parents, and though we have seen worse, it’s clear that Sam and William Paul are viewed as little more than a paycheck in their new home. The two kids are never allowed to work through their devastating loss, and instead cling to each other for security.

In fear of being split from her brother and suffering another unbearable loss, Sam takes charge and leads her brother into the woods where she believes she can take care of him and protect him. As smart as she is, 13 year olds have limited survival skills and soon enough the siblings are in need of food and medicine. They cross paths with an understanding bar owner played by Tom Nowicki, and his kindness can be questioned by viewers – is he doing the right thing?

The spirit of the story is alive in each scene thanks to a remarkable performance from Alexandra Peters as Sam. She is stunning in the strength and vulnerability she displays, while also maintaining a childlike curiosity that perfectly captures the notion that every child “deserves a life”. Mr. Skousen has a keen eye for camera work, and it’s especially effective during the Thanksgiving Day in-home tragedy.  And with his heavenly approach to good (and never ending) parenting, it’s a reminder for us to constantly ask if we as parents are making things better or worse for kids.

 

SHE’S THE BEST THING IN IT (2015, doc)

DIFF 2015

shes the best thing If you follow the live theatre, you are likely familiar with Tony winner Mary Louise Wilson. Everyone else will likely recognize her face (not her name) from various TV and movie appearances – ranging from “One Day at a Time” to Nebraska (2013). Ms. Wilson is one of the very few who have enjoyed a fifty plus year career as a character actor. Her own differentiation between a star and an actor: Stars are themselves playing others, while character actors disappear into the role. For her, this is heart of acting.

Director Ron Nyswaner is a well known writer (Philadelphia, The Painted Veil), and this is his first documentary. It would be incorrect to label this as a biopic. Though Ms. Wilson is the main focus of the project, it seems more accurate to call this a portrait of acting … especially female actors. How and why do actors do what they do? What makes them keep going? Mr. Nyswaner admitted during the Q&A that he “loves” and appreciates actors … not something we always hear from writers.

The cameras follow Ms. Wilson to her first teaching gig in New Orleans (where she was raised). Watching this energetic and passionate octogenarian work so hard to connect with a class of twenty year olds is intriguing, and as frustrating at times for the viewer as it is for her pupils. They struggle to comprehend her directions and critiques, as do we. She brings her 50 years experience and the knowledge of her legendary acting mentor Sanford Meisner to a group who mostly seem more in love with the idea of stardom, rather than a desire to develop a craft.

The real insight here comes courtesy of interviews with such actresses as Tyne Daly, Frances McDormand, Valerie Harper, Estelle Parson, and Melissa Leo. These extremely successful people come clean on the hard work, dedication, insecurities and the pain (“That’s the point” according to Ms. McDormand). Though they touch on the topic, I was anxious for more discussion on the challenges women face in the industry. One thing was clear for each … they LOVE acting.

Another enjoyable piece revolves around the reuniting of Ms. Wilson with her sister, a local playhouse actress herself. The two ladies reminisce about their childhood, and what motivated them to escape into “play pretend”. They both agree that being peculiar and feeling inadequate provided the natural desire to escape into roles.

This is one of the best looks at acting that you will find. The struggles, the motivation, the ups and downs, are all captured here in a perfectly titled film.

 

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Posted by David Ferguson

PROMISED LAND (2012)

January 7, 2013

DISCLAIMER: This blog was set up to provide thoughts and commentary on movies through the eyes of someone who loves and appreciates the art of cinema. Most of the time, these comments focus on the positive aspects of each movie, while also mentioning any particular areas which, by opinion, seem to fall short of acceptable.  It is rare indeed when a movie is so annoying and lacking in merit that I find myself with mostly negative comments to make.   Typically I would just skip the commentary, however, I believe Promised Land deserves to be exposed for the fraud that it is.

promised Greetings again from the darkness. On paper, a story about a controversial environmental issue (fracking for natural gas) presented by a respected director (Gus Van Sant) and featuring a strong cast (Matt Damon, John Krasinski, Frances McDormand, Rosemarie DeWitt, Hal Holbrook) would be a welcome cinematic contribution, despite an expected slant to the story-telling. Most of us enjoy, or at least accept, a well presented argument that brings light and substance to at least one side of the controversial issue. What no one appreciates is having their time wasted … which is exactly what this ridiculous movie does.

Fluff is fluff, regardless of the subject matter that acts as a backdrop. Matt Damon and John Krasinski combined to write the screenplay based on a story by Dave Eggers. The screenplay is simple-minded, uninformed promised3and amateurish. Did they do any research? It seems more likely they got together a couple of times, sipped a few imports, and threw together an outline. If they had then turned that outline over to a REAL writer, the ensuing mess of a movie could have been avoided. Instead, they somehow tricked Gus Van Sant into becoming the director. This process worked just fine 15 years ago when Ben Affleck collaborated with Damon and Van Sant for the excellent Good Will Hunting. That film shouldn’t even be tarnished by mentioning it here.

There is no shortage of articles available with actual facts on the companies and process involved with natural gas fracking. In 2010, Josh Fox even put together GasLand, a very effective documentary on the subject. So, the idea of formulating a Hollywood dramatic version makes sense. Matt Damon’s name alone ensures better exposure in one week than Mr. Fox’ film has had in two plus years. What doesn’t make sense is a version that is so lightweight and lacking in details, that a convoluted, half-assed love triangle steals the spotlight off what should be the real story.

promised2 What is the real story? A fictional $9 billion company with the generic name Global Crosspower Solutions sends their crack closing team of Steve Butler (Damon) and Sue Thomason (McDormand) into rural Pennsylvania to buy up the land leases from the area’s struggling farmers. Somehow we are supposed to believe that Steve, this hotshot rising star, makes two blunders in the first couple of days – allowing the town to vote, and getting blackout drunk in the only town bar. Then, this brilliant executive totally loses his equilibrium when a small time environmentalist (Krasinski) shows up and starts charming the locals with his horror stories of fracking.

Steve walks around telling people “I’m not a bad guy“, McDormand shakes her head at him and says “It’s just a job“, and Krasinski buddies up with everyone … including local school teacher Rosemarie DeWitt, on whom Damon has a bit of a crush. One of the more ridiculous bits is that Damon’s character supposedly grew up in a farm community just like this and saw it shrivel up when the factory closed. He is probably the only guy to ever grow up on a farm who can’t drive a stickshift and has to be chauffeured around by McDormand. As if all of that isn’t ridiculous and lame enough, here comes the most absurd movie twist of all time. Since the first 2/3 of the movie promised4lacks any sense of realism, the twist is not surprising, but rather just plain ludicrous. It’s a cheap writing device.

As for positives, it’s always a joy to watch 88 year old Hal Holbrook on screen. More attention to his character could have saved the movie …he is far and away the most intelligent and interesting character. Also, Damon’s character goes on a heartfelt rant towards some drunken rednecks. It’s his only scene that works and ends, logically, with a punch to nose. Titus Welliver, Scoot McNairy and Lucas Black all have moments of support that deserve a better movie. The same can’t be said for Damon, Krasinski and Van Sant … the blame and embarrassment falls at your feet, gentleman.

SEE THIS MOVIE IF: you shut your eyes and plug your ears for all except Hal Holbrook’s scenes

SKIP THIS MOVIE IF: you prefer not to reward a couple of Hollywood stars for their lackadaisical efforts

watch the trailer

http://www.youtube.com/watch?v=AHQt1NAkhIo

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Posted by David Ferguson

MOONRISE KINGDOM (2012)

June 5, 2012

 Greetings again from the darkness. Not many people think like Wes Anderson. That’s probably a good thing in real life. It’s definitely a good thing for movies. He is a creative and distinct filmmaker, though not one with mass appeal. My two personal favorites of his are The Royal Tenenbaums and Rushmore. His previous film, Fantastic Mr Fox, was a solid hit and critically lauded. Now he delivers one that will probably only click with his core fans. It’s a thing of beauty … if you keep in mind that beauty is in the eye of the beholder.

Set on the fictional New Penzance Island off the coast of New England in 1965, the movie opens with terrific visuals of the Bishop family’s lighthouse/home. Our tour is conducted as if the home were a dollhouse, and our eyes struggle to keep up with the detailed decor. We are struck by the color palette of tans, greens and splashes of red. This will continue throughout the movie.

The story centers around two 12 year old misfits: Sam and Suzy. Sam is an orphan and outcast in his Khaki Scouts troop, and Suzy is misunderstood and ignored by her selfish parents, who communicate with a bullhorn and through legalese at bedtime (they are both lawyers). Sam and Suzy are attracted to each other’s misery and decide to run away together (yes, they are on an island). This ignites a flurry of activity on this quiet island and showcases two first time actors with remarkable screen presence: Jared Gilman (Sam) and Kara Hayward (Suzy).

 The “grown-ups” on the island include Suzy’s parents played by Bill Murray (a Wes Anderson regular) and Frances McDormand. The island police chief is played Bruce Willis, who we soon figure out is also a social outcast. The Scoutmaster is played by Edward Norton with a regimented weirdness that will have you laughing in confoundment. For such serious topics, Mr. Anderson and co-writer Roman Coppola provide us many comedic moments – both through dialogue and site gags.

During the search, other colorful supporting characters get involved. Social Services is pursuing Sam. Tilda Swinton plays Social Services. In one of the few gags I’ll give away, Swinton’s character only introduces herself as Social Services. This is a gut punch to a system that is often under-staffed and forgetful of it’s true mission. We also get Jason Schwartzman as a very helpful, though slightly seedy, Cousin Ben. Harvey Keitel plays the senior Scoutmaster who is unhappy with Norton for losing a scout. Bob Balaban makes periodic appearances as a narrator … either for a documentary or for the movie, depending on the moment’s need.

The script does a wonderful job of capturing how the 12 year old brain works. Some of the scenes with Sam and Suzy are almost like looking a photo album … exactly the way our childhood memory works. Flashes of moments. The Alexandre Desplat score is heavy on percussion, but it works well with the minimalistic look of the film. It’s also interesting to note that this is one of the few movies where it makes sense to have a soundtrack with Benjamin Britten, Hank Williams and Mozart! If you go to this one, keep your eyes open and moving, and your ears receptive. The payoff is worth it.

SEE THIS MOVIE IF: you are a devoted fan of Wes Anderson OR you are ready for an example of what makes indie films so intriguing to those of us who crave them

SKIP THIS MOVIE IF:  your movie preferences lean towards straightforward entertainment rather than off-beat dialogue from disturbed characters

watch the trailer:

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Posted by David Ferguson

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