THE GOLDFINCH (2019)

September 12, 2019

 Greetings again from the darkness. The challenge after watching this movie is deciding whether it needed more time or less. With a run time of two-and-a-half hours, that may seem like a ludicrous question, but Donna Tartt’s Pulitzer Prize (fiction) winning 2013 novel was almost 800 pages long, covering many characters and spanning more than a decade. What to include and what to omit surely generated many discussions between director John Crowley (the excellent BROOKLYN, 2015) and screenwriter Peter Straughan (Oscar nominated for the fantastic TINKER TAILOR SOLDIER SPY, 2011).

13 year old Theo (Oakes Fegley) is visiting the Metropolitan Museum of Art with his mother when a bomb explodes leaving Theo dazed in the rubble and his mother dead. An encounter with an injured stranger causes Theo to take a painting and flee the museum. Theo proceeds to hide the artwork as the family of one of his schoolmates takes him in. The painting is “The Goldfinch” by Rembrandt’s pupil Carel Fabritius. In the first of many parallels separated by time, we learn Fabritius was killed (and most of his work destroyed) in an explosion. In fact, it’s these parallels and near-mirror-images are what make the story so unique and interesting … and so difficult to fit into a film.

When Theo’s long-lost drunken shyster father (Luke Wilson) shows up with his equally smarmy girlfriend Xandra (Sarah Paulson), they head to the recession-riddled suburbs of Las Vegas. It’s here where Theo meets Boris (Finn Wolfhard, Richie from the two IT movies), a Ukranian emigrant living with his dad (yet another parallel). The two boys become friends, partaking in drugs, alcohol, and shoplifting. Another tragedy puts Theo on the run. He finds himself back in New York, where he takes up with Hobie (Jeffrey Wright), the partner of the stranger from the museum.

All of this is told from the perspective of young adult Theodore Decker, played by Ansel Elgort (BABY DRIVER). We see him bunkered in a hotel room contemplating suicide. The story we watch shows how his life unfolded and landed him in this particular situation. And it’s here where we find the core of the story. Circumstances in life guide our actions, and in doing so, reveal our true character. Theo carries incredible guilt over his mother, and his actions with Hobie, regardless of the reasons for doing so, lead him to a life that is not so dissimilar to that of adult Boris (Aneurin Barnard, DUNKIRK) when their paths cross again.

Other supporting work is provided by Ashleigh Cummings as Pippa, the object of Theo’s desire, Willa Fitzgerald (played young Claire in “House of Cards”) as Kitsey Barbour, Theo’s fiancé, as well as Denis O’Hare, Peter Jacobson, and Luke Kleintank. As a special treat, Oscar winner Nicole Kidman plays Mrs. Barbour in what feels like two different performances. When Theo is young, she is the cold, standoffish surrogate mother who takes him in; however when older Theo returns, her own personal tragedies have turned her into a warm bundle of emotions in need of pleasantry. It’s sterling work from an accomplished actress.

The segments of the film that resonate deepest are those featuring Oakes Fegley as young Theo. Fegley was so good in the criminally underseen WONDERSTRUCK (2017), and here he conveys so much emotion despite maintaining a stoic demeanor. It’s rare to see such a layered performance from a young actor. Of course the film is helped immensely by the unequaled work of cinematographer Roger Deakins. Mr. Deakins finally won his first Oscar last year in his 14th nomination. Trevor Gureckis provides the music to fit the various moods and the two time periods. All of these elements work to give the film the look of an Oscar contending project; however, we never seem to connect with the older Theo, which leaves a hollow feeling to a story that should be anything but. Instead we are left to play “spot the parallels” … a fun game … but not engaging like we would hope.

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THE UPSIDE (2019)

January 11, 2019

 Greetings again from the darkness. Frequent movie goers often complain about the lack of originality in American movies. It sometimes seems as if most are sequels, remakes or reboots, or simply pulled from the panels of a comic book. There is another source that is particularly irksome to yours truly, and that’s the Americanization of an outstanding film from another country – World Cinema, if you will. Seven plus years ago, while watching the crowd-pleasing (though not so critically acclaimed) and exceptionally performed 2011 French film THE INTOUCHABLES, there was little doubt that it would, at some point, be subjected to an American “enhancement”. Sure enough, director Neil Burger (THE ILLUSIONIST) perfectly captures why this transition is sometimes so painful to see.

Based on a true story, filthy rich quadriplegic widower Phillip Lacasse is played by Bryan Cranston, while Nicole Kidman (her 4th film in 8 weeks) plays Yvonne, Phillip’s wound-too-tight, ultra-loyal chief of staff (she handles his many business affairs and calendar) with an obvious ulterior motive. Kevin Hart (he of recent Oscar-hosting drama) plays Dell, an unemployed ex-con street hustler. While searching for employment to appease his Parole Officer, Dell stumbles into a Park Avenue penthouse where Phillip and Yvonne are conducting interviews for a full-time caregiver to Phillip. Though he is woefully unqualified, and Yvonne protests mightily, Phillip chooses Dell. The undercurrent here is that Dell’s self-centeredness corresponds nicely to Phillip’s DNR and lack of will to live since his wife’s death from cancer.

The opening sequence has Dell racing through downtown, evading police, while driving a Ferrari with Phillip in the passenger seat. This is followed by a promising “6 months earlier” flashback introducing us to Dell’s ex-wife (Aja Naomi King) and their teenage son Anthony (Jahi Di’Allo Winston), both of whom are fed up with the lack of support and trustworthiness of Dell. Basically, Dell is a deadbeat dad with little ambition – other than to avoid returning to prison.

The tone of the film changes once Dell has the job as Phillip’s carer. The bulk of the remaining run time (which is 20 minutes too long) becomes a comedy skit showcasing the punchlines of Kevin Hart. Mind you, the full house I watched the screening with seemed to love every bit, as laughter filled the theatre. For me, I could only long for the soul and spirit of that beloved French film from years ago … and the amazing chemistry between the charismatic Omar Sy and the talented Francois Cluzet. This version isn’t about chemistry – it’s about comic timing. The only real exception to that is a terrific and psychologically deep scene with Julianna Margulies playing Phillip’s pen pal, as they meet for the first time over lunch. The scene is played beautifully, but is a complete tonal change from what comes before and after. Contrasting this scene with Kevin Hart’s over-the-top antics in the high-tech shower, magnifies the contrast in concepts.

Jon Hartmere is credited with the screenplay based on the original film’s screenplay by Eric Toledano and Olivier Nakache. For some reason, Phillip Pozzo di Borgo’s autobiography doesn’t make the credits for this version. A bit more attention to Dell’s ex and son could have worked to humanize him, and soften the caricature on display. This comes across as an interracial odd-fellow buddy flick, where yet another black man (often in a subservient role) rescues an entitled white person (even if they’re disabled) from lack of hope and leads them to a life worth living. Is it possible to make a movie based on race and class, and even romance, and still offer no real insight? Apparently the answer is yes, if one chooses to go for easy laughs. Perhaps you’ll join the audience in rolling along with Dell’s first trip to the opera, or the disrespect to art collectors – or that seemingly never-ending catheter scene. Or perhaps you can be persuaded to track down THE INTOUCHABLES for a more emotional and inspirational telling of this story.

***NOTE: I should also mention that one of my Top 5 movies of 2018 has already been targeted for an American remake starring Jake Gyllenhaal.  Boo. Hiss.

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DESTROYER (2019)

January 11, 2019

 Greetings again from the darkness. The rogue/burned-out cop obsessed with an old case or particular criminal nemesis is something we have seen many times before. Ordinarily there would be no reason to seek out yet another movie on the subject; however, this time the reason is obvious … Nicole Kidman.

Ms. Kidman, an Oscar winner for THE HOURS (2002), is an excellent actress and has had a wonderful career, but this is something altogether different for her. She plays LAPD Detective Erin Bell, a worn-down, emotionally shattered shell of the idealistic cop who, 17 years earlier, was part of an undercover operation that went tragically and violently wrong. Director Karyn Kusama (JENNIFER’S BODY, 2009) bounces back and forth on the timelines – sometimes we are viewing Erin’s undercover work with her partner Chris (Sebastian Stan), and others we get the haggard Erin of present day. The contrast is stark.

The ghost of case past has returned, and we witness what has haunted her these many years. Past decisions and actions have rotted her spirit, while alcohol has since destroyed her body. She is a wreck – physically and emotionally, and her reputation within the force is shot. It wouldn’t be totally accurate to describe her as self-destructive since she has already destructed. The only thing keeping her going is booze and a desire for revenge.

Flashbacks take us through her early work with the crime gang led by Silas (Toby Kebbell), a master of psychological manipulation (think Charles Manson). We also see Erin’s too-close connection to partner Chris, and a terrific bank heist scene explains how things went down. Now it’s 17 years later, and Silas has resurfaced. Erin wonders why. We also see Erin’s feeble attempts to be a mother to her 16 year old daughter (do the math) Shelby, played by Jade Pettyjohn. The two have only a sliver of a relationship as Shelby lives with Erin’s ex Ethan (the eternally underutilized Scoot McNairy).

Other support work is provided by Tatiana Maslany as one of Silas’ gang, and Bradley Whitford as a scummy defense attorney. Erin has a sequence with the latter that emphasizes just how alone she is. When asked where her partner is, we realize she has no partner with her and no back-up on the way … she is a lonely, desperate, rogue cop with a murky plan and a head clouded by booze.

Writing partners Phil Hay and Matt Manfredi (known for CLASH OF THE TITANS and RIDE ALONG) deliver very few surprises with the script, leaving the burden on Ms. Kidman to keep us interested. And despite her character’s train wreck of a life, the performance is quite something to behold … her look, her gait, and even her whispered voice – all point to a woman hanging on by a thread and lacking basic daily energy to show any signs of hope. Director Kusama adds texture by showing many non-touristy areas of Los Angeles, and filming the two timelines in such a way that the structure works – although the Erin in shambles is far more intriguing than the younger one. On a separate note, there should be a special Oscar for the make-up team that managed to make the usually glamorous Ms. Kidman look realistically shattered.

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AQUAMAN (2018)

December 13, 2018

 Greetings again from the darkness. Were the TV series “Entourage” still on the air, they would now need a new recurring punchline. The AQUAMAN movie is real! At the helm, we are surprised to find the master of horror, James Wan, in the director’s seat. Mr. Wan is known for such genre flicks as SAW, INSIDIOUS, and THE CONJURING, and his talent for visuals transfers well to the comic book style. In fact, with a run time of almost 2 ½ hours, the visual effects are both exhilarating and exhausting.

Sure, we’ve seen short bursts of Jason Momoa as Aquaman in a couple of previous DC movies, but this time he owns the pool. Momoa plays Arthur Curry as a hunky beer-chugging rock and roll party dude who just happens to talk to fish and breathe underwater.  Since it’s the first Aquaman movie, writers David Leslie Johnson-McGoldrick (ORPHAN) and Will Beall (GANGSTER SQUAD) provide us the backstory.

On the coast of Maine in 1985, a lighthouse attendant named Tom Curry (played by Temuera Morrison) discovers Princess Atlanna (Nicole Kidman) washed ashore. What follows is a whirlwind romance, the birth of their son Arthur, Nicole snacking on a goldfish, as well as her first kick-ass action fight scene. To protect her son, she agrees to head back to Atlantis where she faces the consequences of birthing a half-breed with a landlubber.

When we first see a grown Arthur – with a classic hair flip – he is thwarting the hijacking of a Russian submarine by Black Manta (Yahya Abdul-Mateen II) and his father (Michael Beach, IF BEALE STREET COULD TALK). Manta is one of the two main villains – the other being Orm (Patrick Wilson), Arthur’s war-mongering, power-thirsty half-brother. Sharing a common enemy, Orm enlists Manta and provides a highly-advanced weapon that, for some unfathomable reason, Manta begins (via montage) to ‘Iron-Man’ it to another level – one much less stable. It’s Orm who gets much more screen time as he plots a massive attack on surface dwellers (humans) who have been destroying the sea for years. You didn’t think Hollywood would miss a chance to tell us how despicable we are, did you?

The basic story is that Orm must defeat Aquaman to claim the throne and become Master of the Sea. Of course, Arthur is reluctant to get involved and only does so at the urging of his old mentor Vulko (Willem Dafoe) and Mera (Amber Heard), both of whom wish to avoid a war with humans. The first battle of the would-be kings takes place in The Ring of Fire, a royal battleground missing only the accompaniment of Johnny Cash. The duel ends prematurely, so that an epic battle can later serve as the film’s epic climax.

Although director Wan may throw a bit too much ‘plot’ and action at the proverbial wall, it is interesting to note the history/mythology associated with Atlantis, the ruling class, and the missing trident. The legends are fascinating and the journey takes us to all ends (and depths) of the globe … from the deepest seas to the middle of the Sahara Desert (itself once a sea) to the incredible core of the Earth. We see the ancient ruins, as well as the high-tech futurama Atlantis … and it’s all stunning to watch.

Don’t tell Marvel, but the film is somewhat a blend of BLACK PANTHER and THOR, and Momoa is every bit the Aquaman that Chris Hemsworth is Thor (quite a compliment). Yes, we find out that Atlantis, like our dry land world, is burdened with politics and power-hungry types, but the underwater world and the visual effects keep us mesmerized. We see terrific dragon-like sea horses, a drumming octopus, and a Kraken-like creature supposedly voiced by Julie Andrews (fact or fiction?). There is an early sequence that takes swimming with dolphins to a level you didn’t experience on your vacation, and the lighting effects at times recall TRON and can be a bit disorienting.

This is probably the largest scale DC movie to date, and director Wan chooses to make a splash with every element – character, mythology, setting, and effects. We also get appearances from Dolph Lundgren as King Nereus and Randall Park as a TV talking head/oceanographer making the case that Atlantis is real and a threat. We even get Roy Orbison singing “She’s a Mystery to Me”, and the IMAX aspect ratio makes the first ever over-the-top underwater spectacle. And what a spectacle it is.

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BOY ERASED (2018)

November 8, 2018

 Greetings again from the darkness. It has taken two movies this year, THE MISEDUCATION OF CAMERON POST and this one from writer-director-producer-actor Joel Edgerton, and I finally understand that the practice of conversion therapy (treatment designed to change a person’s orientation to heterosexual from something else) is real … and it’s widespread … and it’s cruel … and it’s absurd. I’ll readily admit that my little life bubble has previously protected me from knowing much about the world of conversion.

Lucas Hedges has quickly developed into a dependable dramatic actor with his moving performances in such films as MANCHESTER BY THE SEA, LADY BIRD, and MID90S. Here he stars as Jared Eamons, a college aged young man struggling with the inner turmoil that accompanies being a gay man raised by a Pastor-dad in the heart of the Bible belt. Since the film is based on the memoir of Garrard Conley, we can assume much of what we see and hear has been seen and heard by Mr. Conley in his life.

Jared’s parents are played by Nicole Kidman and Russell Crowe, and while the parental actions of their characters may confound us, both deliver strong performances. One especially impactful scene allows Ms. Kidman to show what sets her apart … it occurs in her scene at a table with Hedges when momma finally takes control. Director Edgerton appears as Victor Sykes, the director and “therapist” at Love In Action, the refuge program where Jared’s parents send him.

Over the opening credits we get childhood clips showing Jared was a “normal” little boy being raised in a loving household. Flash forward to his awkward date with a girlfriend who asks him “what’s wrong?”. Later, after being sexually assaulted by a college buddy, Jared comes out to his parents. His time in Sykes’ program is filled with unimaginable steps. A Genogram is to be completed, listing all of the personal problems and “dangerous” traits of relatives on the family tree – the point is to isolate the source of sin. One boy is beaten with bibles by his family in an effort to drive out the demons of homosexuality (nope, that’s not a joke). There is also a macho counselor (played by Flea of Red Hot Chili Peppers) who gives inspiring manly talks and teaches how to look, act, and stand like a real man. It’s all so pathetic and tragic.

Rather than focus on Jared and the others in the program, much of the time is spent with his parents and why/how they could make the decision to enter him into conversion therapy. Jared’s dad tells him he won’t be loved by God … a message also delivered by Sykes. When Jared’s mom (Kidman) states “our family is so normal”, we aren’t sure whether she believes it, or wishes it so – although she leaves no doubt how she pictures a normal family. Of course, it’s really Jared’s dad (Crowe) who takes the news as a personal affront to his manhood and religious beliefs … beliefs somehow more important than his own son.

Support work is provided by Joe Alwyn, Cherry Jones (as a doctor, and the only reasonable adult), Frank Hoyt Taylor, Britton Sear, and Jess LeTourette. Filmmaker Xavier Dolan (MOMMY, 2014) also has a role as Jon, one of those in the program. The music is provided by Danny Bensi and Saunder Jurrianns, and for the most part, director Edgerton stays consistent with his focus on characters – though his frequent use of slo-motion loses impact with each successive use. The film avoids any cheap sentimentality or emotional gut-punches, instead focusing on the daily dealings. Perhaps it’s meant to appeal to parents in this situation – those parents who are confused and misguided. We see this film more than we feel it, although I often found myself looking at these parents and asking, ‘what’s wrong with these people?’ When the film ends by telling us 36 states allow for conversion therapy, we quickly realize Jared’s parents may be more ‘normal’ than we thought (incredible as it seems).

watch the trailer:

 


HOW TO TALK TO GIRLS AT PARTIES (2017)

May 31, 2018

 Greetings again from the darkness. Filmmaker John Cameron Mitchell exploded onto the scene in 2001 with his instant cult favorite HEDWIG AND THE ANGRY INCH, and in 2010 he delivered the expertly crafted and somber marital drama RABBIT HOLE. In his first feature film since the latter, Mitchell revisits the punk world in what has been described as Romeo and Juliet with punks and aliens.

Mitchell and co-writer Philippa Goslett adapted the screenplay from a short story by Neil Gaiman (“American Gods”). It’s set in 1977 Croydon (outside London) and though music plays a vital role, it’s not really a musical. And even with some funny moments, it’s not really a comedy. And while there are aliens, one wouldn’t label this as science fiction. There is a budding romance at the core, and maybe the romance description fits best … although, any unwitting group of film goers heading to the theatre expecting a typical romantic drama will likely walk out in the first 15 minutes.

Zan (Elle Fanning) and Enn (Alex Sharp) are star-crossed (or is it intergalactic-crossed?) lovers – she being an alien, he a young punk rocker. This is less about two worlds colliding than two worlds exploring each other: the freedom of punk vs the conformity of the alien colony. We cross paths with the local Queen of punk known as Boadicea (one of the most extreme Nicole Kidman roles of her career), the alien Stella (Ruth Wilson), and Enn’s punk mates Vic (Abraham Lewis) and John (Ethan Lawrence).

Far and away the most interesting puzzle piece here is the connection between Enn and Zan. Mr. Sharp (a Bob Geldof lookalike) and Ms. Fanning are terrific together and the film suffers when they aren’t on screen. Their live duet onstage is a true highlight and her wide-eyed curiosity combined with his zany punk persona provide most of the film’s energy.

Punk … the best thing to happen to ugly people” is likely the best line in the film, although Zan requesting “Do some more punk to me” isn’t far behind. There are messages here about parenting, diversity and globalization, but mostly it’s a creative and wild ride that’s not likely to please everyone … especially those looking for a Nicholas Sparks romance or anyone who might take the title literally.

The film is scheduled to show at the Texas Theatre in Dallas beginning June 1, 2018.

watch the trailer:


DEAD CALM (1989) revisited

November 12, 2017

 Greetings again from the darkness. For years, I considered this one of my favorite guilty pleasures; however, I now realize just how unfair that label is. After nearly 30 years, this arm-rest-gripping thriller from director Phillip Noyce (CLEAR AND PRESENT DANGER, RABBIT-PROOF FENCE, THE QUIET AMERICAN) deserves respect as a well made (except for the ending), well written and well acted film. It proves that two boats may not be enough for three people.

Terry Hayes adapted the screenplay from the 1963 Charles Williams novel, and the production team, including George Miller, is behind the MAD MAX franchise. Cinematographer Dean Semler won an Oscar a couple of years later for DANCES WITH WOLVES, and his eye brings us some terrific shots … none better than an early view of both boats and an expanse of sea.

Of course the film is best known for showcasing a young up-and-coming actress named Nicole Kidman. She began her career at age 16, and was still only 21 when this one was filmed. Her youthful features had yet to make way for the mature and stunning woman we know today. The following year she appeared in DAYS OF THUNDER, kicking off her Tom Cruise era. In the quarter century since, Ms. Kidman has reached the pinnacle of the acting profession and is a four time Oscar nominee, winning for THE HOURS. She has gained respect for never shying away from tough or controversial roles, and in 2017 has excelled in THE BEGUILED and THE KILLING OF A SACRED DEER. Earlier in the year she won an Emmy for her challenging role in “Big Little Lies“.

Ms. Kidman’s role here is as Rae, a mother entertaining her young son by singing “Eensy Weensy Spider” as she drives through a torrential storm that would eventually lead to an accident that tragically kills the boy. Soon Rae and her military officer husband John (Sam Neill) are off on a rehabilitation trip aboard their sailing yacht . Their peaceful time together is interrupted as they spot a stalled schooner off in the distance, and a man frantically rowing a skiff towards them. They help a dazed and profusely sweating Hughie (Billy Zane) on board as he explains how the other passengers on The Orpheus all died from botulism. When John goes to check out The Orpheus, Hughie commandeers the yacht from Rae and heads off leaving John seemingly helpless on the sinking vessel.

What follows is some extraordinary tension and psychological gamesmanship that keeps us enthralled with the three characters. The juxtaposition between the two boats is fascinating. As John’s resourcefulness meticulously brings the dying Orpheus back to life, Rae and Hughie are involved in a mental chess match of life and death between a sociopath and a mother in mourning. There is also a creative manner in which John (and viewers) picks up some of the bleak backstory casting doubt on Hughie’s tale.

Sam Neill was in his early 40’s, and this was four years before his Dr. Grant took the tour of JURASSIC PARK, where no expense was spared. In 1988 he had portrayed Meryl Streep’s husband in A CRY IN THE DARK, and recently his strong, silent persona has been key to the success of HUNT FOR THE WILDERPEOPLE (one of the best from 2016) and TV’s “Peaky Blinders”. Billy Zane, age 22 at the time of filming, makes a wonderfully frenetic entrance in the film. He met his wife Lisa Collins on this shoot – she’s one of the unfortunate Orpheus passengers. He has also enjoyed a long and consistent career, with his most recognizable roles being from TOMBSTONE (1993) and of course as Rose’s jealous fiancé in TITANIC (1997). His cameos in the ZOOLANDER movies are legendary in comedy, and now in his 50’s, Mr. Zane remains extremely busy as an actor.

The tagline for the movie: “When you are in the middle of nowhere, there’s nowhere to hide” is terrific, and the confines of a boat at sea set the stage for a life lesson – sometimes you just have to fight. Orson Welles worked on his version of the film for years, but the project was never finished. Instead, director Phillip Noyce and three excellent actors deliver a taut thriller that keeps our palms sweaty … at least right up until that ghastly ending that somehow leaves me annoyed and laughing in frustration.


 


THE KILLING OF A SACRED DEER (2017)

October 26, 2017

 Greetings again from the darkness. When we become a spouse and a parent, we immediately develop a mode of protection never before experienced. We would do anything possible to protect our kids and spouse – even die for them if necessary. One of the most gifted and imaginative filmmakers working today forces us to consider a terrifying scenario: what if we had to select one of our family members to die?

Yorgos Lanthimos delivered the most bizarre and interesting film of 2016 with THE LOBSTER. This time out he re-teams with co-writer Efthymis Filippou, although this story eschews the dark humor of their previous film, opting instead for a type of gut-wrenching psychological warfare we have not previously witnessed on screen.

The goal here is not to make the viewer uncomfortable. Mr. Lanthimos wants us downright miserable from the tension. This is obvious from the opening scene as Schubert accompanies a close-up look at open-heart surgery, and continues through the awkward conversations and speech patterns as we get to know the characters. A terrific Collin Farrell plays the surgeon Dr Steven Murphy. Nicole Kidman is his wife (also a doctor), and their kids Kim and Bob are played by Raffey Cassidy (TOMORROWLAND) and Sunny Sulgic, respectively. The wild card is Barry Keoghan (DUNKIRK) who plays Martin, the most charming and oddball stalker who is hell bent on revenge and retribution. Keoghan is quite brilliant in this most difficult role.

Beyond the psycho-revenge plot lies a story of survival and atonement, making for an excruciatingly unsettling time in the theatre. We feel the vice tightening on us as the tone shifts from uncertain awkwardness to dark sinister intentions. Director Lanthimos and his regular cinematographer Thimios Bakatakis are in perfect sync with the various harsh angles (high and low spiked with screeching violins) and the necessary tight shots to emphasize the uneasiness and confusion of the characters.

Alicia Silverstone is quite memorable in her one scene as Martin’s mother. Frustrated that her flirtations with Steven aren’t reciprocated, she belts out the year’s greatest line of dialogue: “I won’t let you leave until you’ve tried my tart!” Of course, we couldn’t expect sexual relations to be any closer to normal than the conversations, and Ms. Farrell and Ms. Kidman ensure this to be so. Truly at the peak of the acting profession, Ms. Kidman has never shied away from tough material or less-than-ideal characters. Her strength and determination come through in every scene here, and it’s her scene at Martin’s home where she really puts her stamp on the film.

As difficult as it is to describe the film without giving anything away, one thing is certain – it’s a horror film. It’s difficult to imagine a more frightening scenario than what shakes out here with touches of both SOPHIE’S CHOICE and THE DEER HUNTER, while also having nothing in common with those films. The film’s title comes courtesy of Euripides, and its suspenseful awkwardness at a level rarely seen. The next feature from Mr. Lanthimos (starring Emma Stone and Rachel Weisz) is due next year, and if the line was forming now, I’d be in it.

 

 

 

 

 

 

 

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LION (2016)

January 12, 2017

lion Greetings again from the darkness. Sometimes the real life story is enough. The story of Saroo Brierley is proof. A 5 year old boy from rural India gets stranded at a train station and inadvertently takes a train trip that strands him in Calcutta, thousands of miles from home. He is adopted by a Tasmanian couple and later uses Google Earth to systematically track down his village, family, and ultimately his self.

Saroo’s story would be interesting enough had a writer fabricated it; but in fact, Luke Davies adapted the screenplay directly from Mr. Brierley’s book “A Long Way Home”. Director Garth Davis and an exceptional cast bring this incredible and inspirational and touching story to the big screen in a wonderfully entertaining manner.

The first part of the film introduces us to 5 year old Saroo (a bright-eyed and energetic Sunny Pawar) and his beloved and protective older brother Guddu (Abhishek Bharate). The two boys are nearly inseparable and seem oblivious to the hard life provided by the small village they live in – where their mother literally carries rocks all day. A fluke of circumstance causes the train station separation for the brothers, and young Saroo finds himself on a train ride that will forever change his life.

Very little dialogue is found in this first part, but we immediately connect with the young boy, and we feel his frantic desire to return home as a tightness in our chest as he falls into the quagmire of homeless kids in Calcutta. When Saroo first meets Sue and John Brierley (Nicole Kidman, David Wenham), he isn’t sure how to react. His assimilation into this unrecognizable new world might just as well have been on another planet as a home in Tasmania.

Once the film jumps ahead, Dev Patel takes over as Saroo and the film turns into a journey for the universal need to understand our identity … where we come from, and who we really are. Rooney Mara has a small but important role as Saroo’s girlfriend Lucy (a composite character), as does Divian Ladwa as Mantosh, another boy adopted by the Brierleys. It’s here where Google Earth enjoys its biggest plug as the tool Saroo utilizes to solve the mystery of his origin.

The film is beautifully shot by cinematographer Greig Fraser, and he perfectly captures the harshness of young Saroo’s home village, the frenzied pace of Calcutta and the beauty of Tasmania … all without losing the emotions of any given moment. To cap it off and to prove the filmmakers never stooped to any ‘trickery’, the film ends with actual footage of Saroo reuniting with his mother, and then the magical moment when his two mothers embrace. Good luck maintaining composure during this part!

watch the trailer:

 


GENIUS (2016)

June 17, 2016

genius Greetings again from the darkness. Most biopics provide a look into the life of someone who had an impact. If after watching this film, you are confused about just who the main subject is, that’s understandable. It’s rare to find a biopic about two people … a duo biopic … but that’s what the film directorial debut of noted British theatre director Michael Grandage presents. Novelist Thomas Wolfe and editor Max Perkins are forever linked in history, and the screenplay by John Logan (Oscar nominated for Gladiator, The Aviator, Hugo) shows us just how intertwined these two lives became. It’s based on A Scott Berg’s 1978 book “Max Perkins: Editor of Genius”.

It’s 1929 and writer Thomas Wolfe (Jude Law) is tapping his foot as he smokes a cigarette while standing on the sidewalk staring at Scribner’s Sons Publishing building in New York City. A moment later he is bursting into an office whilst unleashing a rapid-fire blast of words to which our ears can barely keep pace. Taking in the verbal fireworks is an elegantly quiet and eternally hatted man behind the desk. With only the phrase “Mr. Wolfe, we intend to publish your book”, editor Max Perkins (Colin Firth) manages to silence the bombastic writer for a few stunned seconds … mostly the only time we witness this.

And so begins not so much a friendship as a professional dependency and surrogate father/son relationship. Thomas Wolfe was other-worldly prolific in his ability to craft words into stories. He was also an exceedingly creative workaholic and alcoholic who found his way to Perkins via North Carolina and Harvard. Yes, it’s the same Max Perkins who was editor to such literary luminaries as Ernest Hemingway and F Scott Fitzgerald.

Seen as personality polar opposites, we also get to witness the differences within the personal lives of the two gentlemen. Both have strong women at home. Mr. Perkins’ wife Louise is played by Laura Linney, and their 5 daughters are smitten with the outlandish behavior and stories of Mr. Wolfe as he visits for dinner. In an unusual twist for the times, an older married woman Aline Bernstein (Nicole Kidman), was Wolfe’s lover and supporter … even through his carousing and endless nights of work with Perkins.

The red pencil of Perkins is as ever-present as the hat on his head, as he slashes and burns through paragraph after paragraph and page after page of Wolfe’s writing in order to fashion an end product that is “marketable”. The result was Wolfe’s first novel “Look Homeward, Angel” … even the title was changed by Perkins. The editing sequences and Perkins’ directive for “Big story, fewer words” have us (and Perkins himself) questioning the role of an editor. Do they make the story better or just different? Is marketable more important than the original words of the author? It’s a legitimate point of discussion, as it’s doubtful anyone told da Vinci that his Mona Lisa should have a bigger smile, or Mozart that The Magic Flute should have fewer notes. Are book editors underappreciated or overly critical?  In the case of the second Wolfe novel “Of Time and the River”, Perkins reduced the work by not hundreds, but rather thousands of pages … all for the goal of marketability. And it turned out to be Wolfe’s best-selling book.

The best scene in the film is also the most insightful. Wolfe drags the always dignified Perkins to a late night jazz club, and with the help of the band, displays in song how Wolfe’s brain kicks into writing mode. It’s a moment of enlightenment for Perkins, as well as us viewers. Law’s Wolfe is a whirlwind of words and prose and those in his path are simply overwhelmed by the enormity of his way. In what feels like a touch of name-dropping, the film tacks on a couple of scenes with Hemingway (Dominic West) and Fitzgerald ( ). Though the scenes are a bit heavy-handed, they do serve as a reminder of what terrific writing came from this era, as well as the impact of editor Perkins.

It’s a little disconcerting to see the leads in an America tale played by Brits and Aussies, but there is no denying the effectiveness of Firth, Law, et al. It’s truly a tale of two geniuses, and Aline was correct … after Wolfe, there was “a great hush”.

watch the trailer: