THE OVERNIGHT (2015)

June 27, 2015

overnight Greetings again from the darkness. For kindergartners, making friends is as easy as a bag of gummy worms on the playground. For adults, it’s a bit more complicated.  According to writer/director Patrick Brice (Creep, 2015) making adult friends can involve rectum paintings and penis prosthetics … at least after a lot of wine and too many bong hits.  While this is not my wheelhouse for humor, it’s clearly a bold cinematic step and pushes the boundaries even further than other recent Duplass Brothers projects (they are Producers here).

Emily (Taylor Schilling) and Alex (Adam Scott) have recently moved to L.A. from Seattle with their young son. Emily and Alex are good parents, good people, and a solid couple – except for some sexual incompatibility. While at the park, their son (and his gummy worms) befriends the son of Kurt (Jason Schwartzman), one of the endless oddballs that populate L.A. Kurt charms Emily and Alex into visiting his home for an adult dinner party/kid playdate.

Greeted at the door of the mansion by Kurt’s French wife Charlotte (Judith Godreche), Emily and Alex are clearly wooed by the worldliness and sophistication of their new friends. Kurt is a bit of a renaissance man and he and Charlotte also appear to be a solid couple … though as the evening unfolds, we soon enough discover their own sexual incompatibility. And therein lies the core and conflict of the film – relationship dynamics impacted by sexual tension explored through raunchy humor.

It’s interesting to compare Brice’s film with Paul Mazursky’s 1969 Bob & Carol & Ted & Alice, and analyze the cultural and cinematic differences brought on by the 46 year difference. What was shocking then, is nothing compared to what this film has us believe that most young adult couples are struggling with now. Emily and Alex spend the evening exploring their boundaries as individuals and as a couple, while being softly pushed by the more adventurous Kurt and Charlotte. Were it not so raunchy, the theme would be more interesting … though significantly less appealing at the box office.

All four lead actors are strong, but Schwartzman and Scott handle the more challenging roles with aplomb. Given my preferences, I could have used a safe word on a couple of occasions, but the real test will be whether audiences find the film a bold step forward, or whether it is judged to be shock for shock’s sake.

watch the trailer:

 

 

 

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Posted by David Ferguson

ATLAS SHRUGGED: Part 1

April 16, 2011

 Greetings again from the darkness. Seeing this film on opening day means you are sitting in a theatre with other aficionado’s of Ayn Rand‘s novel published more than 50 years ago. I just finished my third reading (spread over 20+ years). The argument could be made that the readers of the novel make up the only real audience for the movie … and that’s purely from curiosity after so many “almost” projects over the years.

I won’t sugar-coat this. The movie has the production value, look and feel of a TV movie. Obviously much money was saved by going with a third-tier cast. Sure, many of the faces are recognizable, but what is lacking is screen presence. This is a story of corporate mavericks vs. big time government sleaze-bags. Neither side is powerful enough to generate sufficient heat, friction or conflict worthy of the fabulous source material. The special effects of the initial run on Rearden Metal had some nice moments, but with so much back story lacking, I can’t imagine anyone really understanding the movie if they had not already absorbed the book.  The original director abandoned the project on the eve of shooting and actor Paul Johansson (who plays John Galt) took over.  That may explain much.

 There aren’t many page-turners that are 1200 pages strong. Ms. Rand’s novel is one of them. It deserved better than this after so many years. The decision to place the film 5 years in the future and then shoot it like it’s still the 1950’s makes for an odd look. Additionally, the shadowy John Galt figure seems stilted and amateurish.

 Taylor Schilling (from TV’s “Mercy”) as Dagny Taggart and Grant Bowler as Hank Rearden are in most scenes. I didn’t find much chemistry between them … heck, I didn’t see much EFFORT from either of them. These are supposed to be two very strong and intelligent people. As they say their lines, they give the impression of not understanding the words being said. Matthew Marsden as Dagny’s brother James does not posses the acting chops to pull off this difficult and crucial role. On the other hand, Jsu Garcia might just have the presence to nail the crucial Francisco D’Anconia character.

 The independent producers have already stated that parts 2 and 3 are contingent upon a strong showing from this opening act. Unfortunately, I doubt the Rand followers will see the film multiple times and the weak production value make me doubt whether anyone “new” will discover it. Ayn Rand’s words always makes me think. I shudder to think what her reaction to this would have been after fighting so many times to have the film made “her way”. Even though I am a movie addict, I will state unequivocally that if you are to choose between seeing this movie and reading the book … choose the book.

SEE / SKIP THIS MOVIE: If you have read the book, you probably feel indebted to see the movie.  If you have not read the book, its 1200 pages are really worth the effort, while the movie is really not.

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Posted by David Ferguson