THE HERO (2017)

June 17, 2017

 Greetings again from the darkness. It’s considered bad form to gush over a film or actor during a review, but come on … it’s Sam Elliott, dripping masculinity from his signature mustache – beloved by men and women alike. Writer/director Brett Haley (I’ll See You in My Dreams) offers up not just a rare lead role for Mr. Elliott, but also one that seems to closely parallel his actual 45+ year career.

Aging western actor Lee Hayden (Elliott) opens and closes the film in a sound booth, progressively more annoyed at each of the director’s requests for just ‘one more’ take on his voiceover for a BBQ commercial. What happens in between will likely be judged by critics as one cliché after another, but it’s also the chance to see an actor north of 70 years old fight through a wide range of emotions and situations, each grounded in struggles many of us will face at some point in our lives.

When the doctor delivers the worst possible news regarding a recent biopsy, Lee has every intention of telling his ex-wife (the rarely seen these days Katharine Ross, Elliott’s real life wife of 30+ years) and estranged daughter (Krysten Ritter). Neither attempt goes well, and instead, Lee finds himself on the sofa of child actor-turned-drug dealer Jeremy Frost (an admirable stage name for Nick Offerman’s character) toking on a joint and watching classic silent films. In fact, the recurring themes of beach, blunt, bourbon and Buster (Keaton) are there to solidify the notion that Lee is a creature of habit, and it’s meeting Jeremy’s customer Charlotte (Laura Prepon) that finally jolts him back to life.

Charlotte is a stand-up comedian and would-be poet who has an unusually accelerated attraction to older men. Of course, she can’t resist Lee, and a May-December romance develops in his last chance at happiness (cliché number 7 or 8, I lost track). Charlotte accompanies him to an event where an obscure group of western film lovers is presenting Lee with a Lifetime Achievement award, and she also becomes somewhat of a life adviser – counseling him to come clean with his family. To ensure no viewer misses out on the sentimentality, Charlotte recites the poems of Edna St Vincent Millay and reminds us all that buying more time is usually the right call.

As Lee and Jeremy munch on Chinese food after the cloud of smoke has cleared, Lee has a great rebuttal to Jeremy balking at hearing his story: “A movie is someone else’s dream.” That sentiment is something I try to hold onto whenever reviewing a movie, as it’s important to remember that it’s the artist (writer, director, actor) who is taking the risk by putting their work on display. It also fits in with the theme here of finding one’s place – putting one’s legacy in order. Contemplating morality and softening regrets are natural steps to take, and each of us should make it easier for those trying. So, scoff at the sentimentality and clichés if you must, but the messages here are loud and clear and important.

Although I had previously seen him (oh so briefly, accusing Redford of cheating) in Butch Cassidy and Sundance Kid (1969), and then again in the late night cult classic Frogs (1972), it was his breakout role in Lifeguard (1976) that made me a Sam Elliott fan for life. Depending on your age, your introduction to his screen presence might have been as Cher’s biker boyfriend in Mask (1985), Patrick Swayze’s pugilistic partner in Roadhouse (1989), Virgil Earp in Tombstone (1993), the wise stranger at the bowling alley in The Big Lebowski (1998), the Marlboro Man in Thank You for Smoking (2005), delivering a gut-punch as Lily Tomlin’s former lover in Grandma (2015), or as Timothy Olyphant’s nemesis in “Justified”. Elliott is the paradigm for the pregnant pause, and combined with that baritone drawl, ultra cool demeanor, bushy mustache, and head-cocked-at-an-angle glance, he undoubtedly won you over to believe him in whatever role it was … because that’s how icons become icons.

Paraphrasing a line in the film: the Sam Elliott voice can sell anything – pot, bbq, Dodge, clichéd roles – and I happen to be buying (gushing).

watch the trailer:

 


GRANDMA (2015)

September 3, 2015

grandma Greetings again from the darkness. Perhaps your mental picture of a grandma is the familiar form of a Norman Rockwell painting … a sweet, bespectacled little lady baking pies or knitting booties or kicking back in a rocking chair as the grandkids romp around her. If so, Lily Tomlin will jolt you into reality with her performance in this latest from writer/director Paul Weitz (About a Boy, American Pie).

The film kicks off with Elle (Ms. Tomlin) breaking up with her much younger girlfriend (Judy Greer). As with many relationship break-ups, the tone shifts quickly with an increase in ‘let’s talk about it’. Elle tosses out “You’re a footnote” as a zinger that quickly ends any hope of reconciliation. It’s an uncomfortable opening scene that aptly sets the stage for what we are going to witness over the rest of the movie … Elle has lived quite a life, but has been unable to move on since the death of her long time companion – a recurring subject throughout.

The six segments of the film are titled: Endings, Ink, Apes, The Ogre, Kids, Dragonflies. Don’t expect those descriptions to help you guess the direction of the film. Instead, it plays out like a road trip through Elle’s past … albeit with a very contemporary feel. See, her granddaughter Sage (Julia Garner) shows up at the house asking to borrow $600 for an abortion. Despite her career as a poet of some notoriety, Elle is tapped out at the moment. So the two of them set out in Elle’s 1955 Dodge Royal (Ms. Tomlin’s real life car), and proceed to visit people (and hit them up for cash) who have played a role in Elle’s most interesting life.

During this journey – which all happens during a single day – the ladies cross paths with Sage’s clueless boyfriend (a miscast Nat Woolf), a transgender tattoo artist (Laverne Cox) who owes Elle the money she lent for enhancement, a small business owner (the final appearance of the late Elizabeth Pena) who is a bit more tough-minded than Elle gives her credit for, a long ago ex-husband of Elle’s (the best performance from Sam Elliott in years) who still carries heartbreak , and most bombastic of all, Elle’s daughter and Sage’s mom – a workaholic, no non-sense, Type A professional (played with vigor by Marcia Gay Harden).

Much will be made of the film treating Sage’s decision so matter-of-factly, but it makes for nice contrast to Juno, where the decision to abort an unwanted pregnancy is abruptly reversed when she’s told the baby has fingernails. This movie even offers a tip of the cap to that scene (bravo Sarah Burns), but is never preachy or heavy-handed in its dealing with Sage. It’s a young girl in a real life situation, and she is depending on her dysfunctional family to provide financial and moral support.

One might describe this as an arthouse movie with wider appeal. Lily Tomlin makes this a must-see, as do Julia Garner and Sam Elliott.  Some will avoid it due to the abortion topic, but this is much more a story of three strong women who are related to each other – even if they don’t always relate to each other.

watch the trailer: