THE REPORT (2019)

November 18, 2019

 Greetings again from the darkness. Does the end justify the means? Do two wrongs make a right? These are questions of ethics and morality, and when it comes to the government, they can also be questions of legal and illegal, or even life and death. Scott Z Burns offers up his feature film directorial debut, and he has been best known as a screenwriter for Steven Soderbergh films such as THE LAUNDROMAT, SIDE EFFECTS, and THE INFORMANT! Mr. Burns certainly didn’t choose an easy route for his first time in the director chair, as this is a heavy, thought-provoking, stomach-churner.

Adam Driver plays Daniel Jones, a Senate staffer under Senator Dianne Feinstein. She charges him with leading the Senate investigation into the CIA’s Enhanced Interrogation Technique (EIT) program after the 9/11 attack. It’s easy to see why so many viewed this as a bad gig, but Jones became obsessed with uncovering the truth about what happened, who did what, and who knew what and when they knew it. This government procedural offers us an education on red tape, political boundaries, and the expertise in protecting fiefdoms in D.C. In other words, everything that we fear and despise about our own government officials is on display here.

That said, it is refreshing to see someone so focused on getting to the truth as Jones is/was … despite the systematic obstacles (destruction of tapes, party divisions). Annette Bening shines as Senator Feinstein and is quite effective in portraying just how difficult it can be for politicians to juggle all sides and pressures when a topic is so “hot”. The film covers a period between 2003 and 2012, and most of the run time is spent on Jones’ research for the report.

The supporting cast is deep and talented, and includes Jon Hamm as Obama Chief of Staff Denis McDonough, Michael C Hall, Maura Tierney, Victor Slezak, Tim Blake Nelson, Ben McKenzie, Matthew Rhys, Corey Stoll, and Ted Levine (as CIA Director John Brennan). One of the more interesting aspects of the film involves the contractors behind the EIT program. Basically, they are academics with no real world case studies or experience – just two guys looking to cash in on a lucrative government deal at a time when a country was desperate for answers.

Watching the battle over the final release (or not) of “The Torture Report” (the word torture was redacted here for the title) injects quite a bit of tension, and the inclusion of archival footage from the period is very effective. What’s less effective is the overuse of shaky-cam in the first portion of the film, and the score is downright annoying at times as it attempts to ensure we are frustrated with the political wranglings. On the other hand, the dialogue is crisp and there are some well-written and well-acted quietly-tense exchanges between folks. Adam Driver carries the bulk of the film and he is perfectly cast.

The obvious comparisons are to ALL THE PRESIDENT’S MEN and SPOTLIGHT, though this one never quite reaches that level. Still, it’s thought-provoking to watch as Jones considers a New York Times reporter to be the most ethical character he can turn to in his efforts to get the truth out. The film doesn’t really choose sides … everyone who participated in a cover-up or illegal activities takes a shot, as does Kathryn Bigelow’s ZERO DARK THIRTY. This was a dark time in U.S. history, and it reminds us how difficult it seems to be to do the right thing while in government. Perhaps that’s the biggest takeaway.

watch the trailer:

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Posted by David Ferguson

THE LAUNDROMAT (2019)

October 10, 2019

North Texas Film Festival (NTXFF) 2019

 Greetings again from the darkness. The meek may inherit the earth, but if this Steven Soderbergh movie based on Jake Bernstein’s book (screenplay by Scott Z Burns) is correct, they aren’t likely to get the money too. To put it more bluntly, the first of the film’s 5 rules of creating and protecting wealth is, “the meek are screwed.” In order to follow this film that is “based on true secrets”, it helps to have a basic knowledge of the Panama Papers … a 2016 anonymous leak of more than 11 million documents exposing how the rich skirt the laws when it comes to protecting their money. Offshore entities had previously been a mainstream punchline, but these documents from Mossack Fonseca, a law firm in Panama, clearly outlined just how widespread the practice had become.

Rather than traditional narrative form, the information is presented through multiple vignettes featuring an impressive roster of well-known actors: Meryl Streep, Jeffrey Wright, Sharon Stone, Melissa Rauch, David Schwimmer, James Cromwell, Matthias Schoenaerts, Robert Patrick, Nonso Anozie, and Rosalind Chao, plus a few others you’ll recognize. In the role of tongue-in-cheek emcees are Gary Oldman and Antonio Banderas, as Jurgen Mossack and Ramon Fonseca, respectively. Their coordinating flamboyant outfits correspond to these caricatures of the real men behind this web of fraudulent activity. They are meant to add humor to the situation, but also tell “their side of the story.”

We are caught off-guard when Meryl Streep’s story and her character are not the main focus. Her slow unraveling of insurance fraud after her husband’s death is but one segment of the lesson that will likely confuse most people. The easy comparison is Adam McKay’s THE BIG SHORT (2015), which used some of this style in explaining the mortgage backed securities market. Whereas Mr. McKay won an Oscar for his screenplay, that’s highly unlikely for this one. Scott Z Burns is a talented writer, but this was simply too complex of a subject to tackle in 95 minutes. Mr. Soderbergh, as is tendency, not only directs the film, but is also the cinematographer, editor and producer.

This is a Netflix production that I caught at the inaugural North Texas Film Festival, and thanks to the presence of Ms. Streep, will likely have at least a limited theatrical release. Unfortunately, neither big screen nor small will solve the inherent issues here. There are some nuggets such as Delaware, despite its population of less than one million, being king of corporation filings (thanks to its business-friendly tax laws). Understanding shell companies, tax evasion, and other illicit financial activities among the world’s ultra-rich requires more than a talented cast, but perhaps there is enough here to motivate some to dig a little deeper with their own research. That is, if the film’s finale – a lecture on reform – doesn’t turn you off completely. Many of us appreciate being informed, but rebel against the preaching.

watch the trailer:

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Posted by David Ferguson

SIDE EFFECTS (2013)

February 11, 2013

side Greetings again from the darkness. Director Steven Soderbergh says this is it. His final film. At age 50, he says he is walking away from making movies. Over the years, he has provided some good and some not so good, but never has he bored us. Movie lovers will always be grateful to him for his 1989 Sex, Lies and Videotape, which single-handedly brought the spotlight back to indie film. While I am quite skeptical of his retirement claim, it’s noteworthy because the absence of one of today’s true auteur’s would be a loss for the art of cinema.

As for this “last” film, it begins as Hitchcock-esque, but concludes as more like Basic Instinct or Dressed to Kill. Put simply, the first half is mesmerizing while the second half devolves into a trashy pulp thrille … which, depending on your tastes, may or may not be a negative.

side2 The first half brought to mind the term pharmacological thriller. It seems as though Soderbergh and frequent writing collaborator Scott Z Burns (Contagion, The Informant!) are making a statement about our current societal trend of seeking answers, and even cures, through medication … despite the risky side effects. We meet Emily and Martin Taylor (Rooney Mara and Channing Tatum) as he is released from prison (insider trading) and she is falling back into her depressive ways. She is soon enough being treated by Dr. Jonathan Banks (Jude Law), a doctor who seems typical in his belief that finding the right pill cures most ills.

Since this is a suspense thriller filled with numerous twists and double, even triple-crossings, it’s impossible to go too deep into what happens without spoilers … something I won’t do here. What can be said is the pharmacological thriller shifts into legal drama and finally a who-done-what kind of conclusion. The solving of the mystery comes courtesy of another oft-used Hitchcock theme: the wronged man seeking vindication.

side3 Rooney Mara and Jude Law are both excellent here and to whatever extent the story works for you, they deserve the credit along with Soderbergh. Ms. Mara was outstanding in the American version of The Girl with the Dragon Tattoo, and Mr. Law continues his transition from lame rom-com’s to quality dramatic actor. The same shouldn’t be said for Catherine Zeta-Jones, who plays Dr Victoria Seibert, Emily’s first psychiatrist. Every scene she shares and every line she speaks just screams “look at me”, not a desired quality for a supporting role.

Support work is provided by Polly Draper, Mamie Gummer (Meryl Streep’s daughter), Vinessa Shaw, Peter Friedman, Laila Robins, and Ann Dowd. Soderbergh does not disappoint from a technical aspect. His odd camera angles and unique shots are quite impressive and effective in sustaining the mood, even as the story spirals towards far-fetched. If it’s truly his swan song, it seems appropriate that we see both the highs and lows of director Soderbergh. Here’s hoping he returns very soon to the medium where his impact is needed.  If not, the side effects aren’t pretty.

**NOTE: If you look quick, there is an advertising poster featuring Julia Roberts. (Ms. Roberts is a Soderbergh favorite from films such as Erin Brokovich)

**NOTE: Soderbergh does have a TV project set to air later this year.  Behind the Candelabra is the story of Liberace starring Michael Douglas and Matt Damon

SEE THIS MOVIE IF: you believe it’s Steven Soderbergh’s final movie OR you enjoy a pulpy thriller

SKIP THIS MOVIE IF: you prefer psycho-thrillesr that avoid the slide towards trash-pulp

watch the trailer:

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

 

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Posted by David Ferguson

CONTAGION

September 10, 2011

 Greetings again from the darkness. Fellow germophobes beware: the first few minutes of this movie will have you reaching for disinfectant and a surgical mask. Just remember – it’s only a movie. The scary part is that we have already experienced much of the terror that the film presents. We have seen first hand the effects of Swine Flu and Asian Bird Flu. We understand the fear of uncertainty and helplessness. It’s important to note that a virus is a living element capable of mutating and spreading … it looks for a way to get stronger and survive.

 The movie goes for the gut punch in the first few minutes. We see Gwyneth Paltrow returning home to hubby Matt Damon after an overseas business trip. We immediately know she is sick, but we aren’t sure of the source … though the film provides many source possibilities. Simultaneously we are shown numerous people with the Paltrow symptoms all over the world, and quickly understand that these are related and the “monster” is spreading quickly.

 Cut to Dr. Cheeve (Laurence Fishbourne) and his team at CDC. He partners with Dr. Orantes (Marion Cotillard) of the World Health Organization and Dr. Mears (Kate Winslet) from the Epidemic Intelligence Services. We are left to fill in the blanks on how these organizations work together to study and interpret the source and danger of an outbreak.

 The true heroes of science are those in the labs. Here we have Dr. Hextall (Jennifer Ehle, from The King’s Speech) and Dr. Sussman (Elliott Gould). We understand that these are highly talented people with the very specific skills needed to save the planet.

From a movie making perspective, the film is technically fine. The camera work and acting are all excellent. Director Steven Soderbergh is a superstar director and well-respected. Writer Scott Z Burns has quite an impressive resume. The cast is as deep and spectacular as any you will see this year. Then why am I in such a funk about this film? It disappoints me to say that the film plays like a disjointed mess. We get bits and pieces of numerous stories throughout, but never do we really connect with a single character. Matt Damon and Lawrence Fishbourne have the most screen time, but neither are accessible or give us any reason to believe we know them … only their desperation. Jude Law plays a super-blogger who teeters between exposing governmental conspiracies and his own insider trading for personal gain. There are subplots with Marion Cotillard, Jennifer Ehle and Laurence Fishbourne that all could have been intriguing, but we get the glossy outline version, rather than an actual story.

 The film focuses not on the personal side of the outbreak, but rather the process of damage control, scientific research and lab work for a vaccine. But we only get scattered bits of any of this. Same with the political side. We see a “world” teleconference with the CDC and leaders from many countries, but never an explanation on why they are all looking to the U.S. for a miracle cure. It would have been fascinating to see how or if the experts from Japan, China, India and the U.S. work together in times of a global epidemic. Instead, we get thoughtful poses from Mr. Fishbourne. What a waste.

Despite the potential for greatness, this film is neither thrilling or dramatic or informative. Mostly I wondered how much time the endless stream of movie stars actually spent on set. It appears Mr. Soderbergh now enjoys hanging with an all-star cast more than really making a statement with a movie. Additionally, I found the quasi-Techno soundtrack to be distracting and annoying. There are numerous virus outbreak movies that are superior to this one.

Whether you see this movie or not … remember to wash your hands!

SEE THIS MOVIE IF: you want to play “spot the movie star” OR world epidemic movies are your guilty pleasure

SKIP THIS MOVIE IF: you believe a thriller should be thrilling OR you agree that an endless checklist of partial subplots can be annoying

watch the trailer:

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Posted by David Ferguson