NIGHTMARE ALLEY (2021)

December 17, 2021

Greetings again from the darkness. Fans of filmmaker Guillermo del Toro anxiously await his new projects knowing full well that each will have a stylish atmosphere, a certain fantastical creepiness, and characters a bit outside the norm (whatever normal is these days). Beyond that, the mystique derives from whatever new approach the extraordinarily talented filmmaker will surprise us with this time. For his first follow-up to his Oscar winning THE SHAPE OF WATER (2017), del Toro and co-writer Kim Morgan have adapted the 1947 cult noir classic by director Edmund Goulding (starring Tyrone Power), which itself was adapted from William Lindsay Gresham’s 1946 novel.

Bradley Cooper (an 8 time Oscar nominee) stars as Stan Carlisle in what is a terrific opening sequence. We witness Stan leaving his past in ashes, then catching the bus out of town, until he steps off and follows a dwarf into the heart of a carnival where sideshows and freaks are the attraction. Through this progression, Stan utters nary a word for quite an extended period. Soon enough, Stan has become part of the fabric of the carnival, thanks to Clem Hoatley (Willem Dafoe) giving him a job, and mentalist Zeena (Toni Collette) giving him more than that. Stan is a quick study and takes in Clem’s history of “the geek”, and more importantly, he absorbs all secrets and the code from the telepathy show Zeena and her alcoholic husband Pete (David Strathairn) constructed. They not only pass along their trade secrets, but also a warning to avoid “spook shows”, which involves bringing up the dead for audience members.

Stan takes to the con quite naturally, and soon he is teaming with ‘electric girl’ Molly Cahill (Rooney Mara) to fine-tune their own psychic shows. Their relationship grows and within a few years, the two are performing at swanky hotels for high-society audience. It’s at this point where the movie transitions abruptly from the raunchy carnival setting with tattered tent flaps, floors of hay, and freaks and gadgets, to stunningly sleek Art Deco, fancy dress, and fancier words. One evening, Stan battles wits with an audience member, and his life path is altered again. Dr. Lilith Ritter (Oscar winner Cate Blanchett) is a psychologist who stays a step ahead of Stan, though he never realizes she has drawn him into her scheme, leading him to believe they are working together.

For those who have not seen the 1947 film, you won’t know that the central idea that folks need to believe in something is minimized, while Cooper’s differing approach to the role will not matter. However, for fans of the earlier film, it seems clear his intentions are less sinister, and he merely views his new skill as a path to wealth. Additionally, his aversion to alcohol too obviously foretells a role in his ultimate downfall. Ms. Blanchett relishes her role as a most intelligent noir femme fatale, and at times, simply overpowers Cooper in their scenes … although these scenes are gorgeous. This cast is absurdly talented and deep, and also includes Richard Jenkins, (Oscar winner) Mary Steenburgen, Holt McCallany, Clifton Collins Jr, Tim Blake Nelson, Jim Beaver, Mark Povinelli, Ron Perlman, and Peter MacNeil. Mr. Cooper and Ms. Blanchett are the featured performers, although my preference would have been more Dafoe and Collette.

Perhaps the real stars of the film are the technical team members: Production Designer Tamara Deverell, Art Director Brandt Gordon, Set Director Shane Vileau, and Costume Designer Luis Sequeira. In fact, one of Ms. Blanchett’s dresses is designed cleverly for one scene which reveals something from Lilith’s past. It’s rare for a film to offer two such contrasting and brilliant looks as what we see here with the carnival in the first half, and the Art Deco of the second. Nathan Johnson’s music is a good fit, especially for the first half.

Surprisingly, it seems as filmmaker del Toro has softened the edges of the characters and story for a more accessible film, though it still features less-than-admirable human beings. It lacks the final packaging regarding the reason the pieces are all related, and we never experience the nerve-jarring intensity of a true noir, though that final scene with Cooper and Tim Blake Nelson is stellar. The director seems to love the shadowy look and feel of the carnival and characters, and not so much the glossy bits of the second half. Still, how good is a filmmaker when one that is not his best work, is still at a level many filmmakers can only dream of? The letdown is like the “geek” job … it’s only temporary.

Opening in theaters on December 17, 2021

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Posted by David Ferguson

DREAM HORSE (2021)

May 20, 2021

Greetings again from the darkness. Feel-good, underdog sports stories are a dependable addition to the entertainment value many seek from movies. Director Euros Lyn (shout out for the first 3 episodes of “Happy Valley”) and writer Neil McKay take us to South Wales for the unlikely true story of Dream Alliance, a racehorse whose saddle carried the hopes of a downtrodden small town. Only rather than focus on the horse, this is the story of the townspeople who desperately needed something to believe in.

Toni Collette (THE SIXTH SENSE, 1999) stars as Jan Vokes, a South Wales villager working two jobs. She also cares for her arthritic husband and her elderly parents, while wondering why her life is so mundane and joyless. Her affinity for animals is apparent by the dog in her bed (not her husband) and the rehabilitating goose in the kitchen. She also has a history of prize-winning with whippets and pigeons. One evening while working at the local pub, she overhears blustering bravado from a customer named Howard Davies (Damian Lewis, “Billions”) who regales his drinking buddies with tales of his time in a syndicate for a racing thoroughbred. After a bit of research, Jan decides she’s going to purchase a mare in order to breed and raise her own race horse.

The fun begins when Jan, with the help of Howard, puts together a syndicate of local town folks in order to bankroll her idea. It’s kind of a rag-tag group, including the town drunk (Karl Johnson). But their passion clearly brings hope where it’s been lacking for a while. Howard, an accountant by trade, has to initially keep the whole thing secret from his wife (Joanna Page), who has no tolerance after his last syndicate almost cost them everything.

Jan’s husband Brian (Owen Teale, “Game of Thrones”), aka Daisy, jumps in to help, though this is one segment that detours from what we saw in the 2015 documentary, DARK HORSE (an audience winner at Sundance). It’s likely Brian’s work was more important than what this dramatized version leads us to believe. Here, the focus is on Jan, and of course, the always reliable Ms. Collette, is strong in the role. However, when Dream Alliance disappears for long stretches of the movie (while off with trainer Philip Hobbs played by Nicholas Farrell), we forget that it’s the story of a horse. Beyond that, we rarely see Jan with Dream Alliance, yet we are supposed to buy a “horse whisperer” connection between the two. How and when did that happen?

The racing scenes are very well done and provide a jolt of energy to the film. The steeplechase jumps are especially impressive and stress-inducing. Cinematographer Erik Wilson provides a touch of realism both at the track and in the small town. This helps immensely since the story is mostly fluff with minimal conflict between the elite of horse racing and the blue collar folks of a mining town. The film ends with a group song of “Delilah” (by Welshman Tom Jones) that includes the real Jan and Brian, as well as others who were involved with Dream Alliance. It’s a true example of “Hwyl” no matter how you say it or how you define it.

Releasing in theatres on May 21, 2021 and On Demand June 11, 2021

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Posted by David Ferguson

I’M THINKING OF ENDING THINGS (2020)

September 3, 2020

 Greetings again from the darkness. We should never look to Charlie Kaufman to pull us out of the pandemic doldrums, although he is an absurdly talented writer who specializes in unusual plots and oddball characters. Mr. Kaufman is also an over-thinker and a non-stop thinker – I would imagine his brain rarely goes quiet. This time out, he directs his own adaptation of Iain Reid’s novel, and the result is a mind and time bending existential crisis that leaves us feeling a bit down. Yet, as always, Kaufman’s work keeps our minds racing.

Jessie Buckley, who was so terrific in WILD ROSE (2019), stars as The Young Woman going on a blizzardy road trip with Jake (Jesse Plemons, THE IRISHMAN, 2019), her boyfriend of the last six weeks or so. They are headed to visit Jake’s parents who live in a “farmy” and remote area. Act 1 is spent in the car as the wipers flap, and the woman and Jake hold awkward conversation. We, as the audience, listen to her inner thoughts, including, “I’m thinking of ending things.” She is truly an outstanding actress, and carries much of the weight with this one.

The woman is not really unnamed, in fact, throughout the movie, she has multiple names including Lucy and Louisa. And character names aren’t the only fluid piece of Kaufman’s puzzle. She is variously labeled as studying Quantum Physics, a writer of poetry, and an artist. Are you confused yet?  If not, you will be.

Act 2 takes place at the farm house where Jake’s parents live, and it shifts the film from awkward to bizarre. Toni Collette (HEREDITARY, 2018) and David Thewlis (“Fargo”) play his mother and father, both excited for the visit, but unconventional, to say the least, in their social graces. Ms. Collette over-laughs just beyond the point of perplexing and nudges the beginning of downright weird. She and Thewlis are exceptional in their ability to keep Lucy off-balance, and Jake hyper-annoyed. We aren’t sure what to make of what we are seeing … and neither is Lucy. While none of these folks takes a single bite of the dinner spread, the tone turns to surreal. Overlapping time lines of past, present, and future become haunting and hypnotic.

The film itself is disorienting, and Act 3 does little to help us regain our equilibrium. Jake and Lucy finally start their drive back, as the snow begins falling even harder. Throughout the production, Kaufman includes references to William Wordsworth, Pauline Kael, Andrew Wyeth, Mussolini, and more. He also inserts clips of a high school janitor (played by Gus Boyd) as he goes about his duties. This janitor is part of a finale featuring an animated pig and a dance number … both of which occur after Jake and Lucy have debated the importance of Cassevetes’ A WOMAN UNDER THE INFLUENCE, and the performance of Gena Rowlands.

Oklahoma plays a role as both a setting and a reference musical, and a stop for ice cream at Tulsey Town, adds to the oddity and the feeling of dread that encompasses us for much of the movie (when we aren’t chuckling at the absurdities). Kaufman mixes genres with glee – horror, comedy, and psychological thriller all lead us to a dance scene and many unanswered questions about what is real and what is only in Lucy’s mind. We never see what attracted these two to each other, but we do wallow in their misery and discomfort. Charlie Kaufman’s previous screenplays include such brilliance as ETERNAL SUNSHINE OF THE SPOTLESS MIND, BEING JOHN MALKOVICH, and ADAPTATION, although this one may have more in common with his SYNECHDOCE, NEW YORK – a film that can wrestle with this one over which is his least accessible. An existential film where past, present, and future mingle and bizarre observations are made on aging and memory, can only fit into Charlie Kaufman’s oeuvre. It will surely make you think, though it may end with you asking ‘why?’

Netflix September 4

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Posted by David Ferguson

KNIVES OUT (2019)

November 27, 2019

 Greetings again from the darkness. “I suspect ‘fow-uhl’ play.” So states the renowned and poetically named private detective, Benoit Blanc. Of course when mega-wealthy, best-selling author Harlan Thrombey supposedly commits suicide after his 85th birthday party by slashing his own throat with a knife, something more sinister (you know, like … murder) must be considered. The violin playing over the opening shots of the palatial Thrombey manor teases us with thoughts of most any year from the past 75. These nostalgic thoughts fade quickly as we begin to meet the players.

Detective Elliott (LaKeith Stanfield) and Trooper Wagner (a quite funny Noah Segan) seem merely to be crossing their T’s in the suicide investigation as they dutifully meet with each family member for a statement. It’s this progression of questioning that introduces us to the year’s most colorful ensemble cast. Patriarch Thrombey’s (Christopher Plummer) scheming heirs-in-waiting include: his daughter Linda Drysdale (Jamie Lee Curtis), happy to remind you of her success as a self-made businessperson; Linda’s smarmy husband Richard (Don Johnson); their renegade son Ransom (Chris Evans) who arrives a bit later; Harlan’s son Walt Thrombey (Michael Shannon) who ‘runs’ the family publishing business; Harlan’s ex-daughter-in-law Joni (Toni Collette), a self-help guru who has a secret side gig; grandkids Meg (Katherine Langford), preppy social media troll Jacob (Jaeden Martell), and Donna (Riki Lindhome of “Garfunkel and Oates”); and Harlan’s mother Greatnana (Dallas’ own K Callan). Two key non-family members are the housekeeper Fran (Edi Patterson) who finds Harlan’s body, and nurse Marta (Ana de Armas), Harlan’s friend and only real confidante.

Writer-director Rian Johnson has put together a diverse career with such films as indie breakout BRICK (2005), science fiction hit LOOPER (2012) and of course, STAR WARS: EPISODE VIII – THE LAST JEDI (2018). With this latest, he shows a real flair with a rare comedic whodunit, and manages to perfectly execute his twisted script of twisted personalities. Think of this as Agatha Christie meets CLUE via THE ROYAL TENENBAUMS. The overall mangled morality of this entitled family becomes crystal clear as we get to know each. Johnson presents many familiar elements for fans of the mystery genre (the dark mansion, the creepy line-up of hangers-on, the red-herring clues and missteps), and most impressively, he blends those with many creative and surprising moments … some that will have you believing you have it figured out. But even if you do, the long and winding road is an utter blast.

Even with that deep and talented cast, it’s Daniel Craig as Benoit Blanc and Ana de Armas as Marta who stand out. They have the most screen time and neither waste a moment. Mr. Craig’s purposefully comedic southern drawl completes the film’s most memorable character, in fact, one of the year’s most memorable characters. Ms. de Armas finally finds a role to take advantage of her skill. Nurse Marta has a lie-detecting reflux gag that is not just valuable to the case, but also vital to the loudest audience reaction during the film. Mr. Craig and Ms. de Armas will also appear together in the upcoming Bond film NO TIME TO DIE.

During the reading of the will, director Johnson brings in STAR WARS stalwart Frank Oz (best known as Yoda) to play the family attorney, while another scene features one of the all-time great character actors (and Roger Ebert favorite) M. Emmet Walsh (BLOOD SIMPLE). Mr. Johnson also offers a unique spin on classism and the 1%, including a running gag about Marta’s nation of origin.

Johnson’s regular team is in top form here: Cinematographer Steve Yedlin, Film Editor Bob Ducsay, and composer Nathan Johnson (Rian’s cousin). Another deserving of mention is Costume Designer Jenny Eagan, who matches threads with personality about as effectively as we’ve seen, and Production Designer David Crank who creates the ideal mansion of secrets. This film is wickedly clever and barrels of fun. There may not have been a more purely entertaining movie this year … and it’s been a terrific year for movies. Just remember: ‘My house. My rules. My coffee.”

watch the trailer:

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Posted by David Ferguson

VELVET BUZZSAW (2019)

February 9, 2019

 Greetings again from the darkness. Filmmaker Dan Gilroy has distinct ideas on how to make his movie stand out from the cluttered maze of Netflix: give elitists a violent comeuppance, and allow Jake Gyllenhaal the freedom to take his character over the top. Not only has Mr. Gilroy reunited with Mr. Gyllenhaal and Rene Russo, his leads from the excellent NIGHTCRAWLER (2014), but he has also assembled a deep and terrific ensemble of actors who understand exactly how to present the material … even if some viewers will be confused, startled, or unimpressed.

What begins as a parody of the highfalutin contemporary art world, slowly transforms into a satirical-supernatural-horror film that judges severely those who drive the profit train by peddling art. Morf Vandewalt (Gyllenhaal) is the flamboyant art critic who possesses God-like abilities to make or break an artist with the words he chooses for his reviews. His work often intersects with Rhodora Haze (Ms. Russo), who runs the largest gallery in the city. She was once part of a punk rock band (from which the film takes its title), and now she lives to cash in on the work of others. As she so eloquently describes, she has moved “from anarchist to purveyor of good taste”. Other players include Jon Dondon (Tom Sturridge) as Rhodora’s competitor, Gretchen (Toni Collette) as an agent, Bryson (Billy Magnussen) as a whip smart handyman, Coco (Natalia Dyer) as a Midwestern girl trying to make it in the big city, Piers (John Malkovich) as a blocked artist who regrets quitting drinking, Damrish (Daveed Diggs) as an up and coming artist, and Josephina (Zawe Ashton) as Rhodora’s ambitious assistant.

The story shifts tone when Josephina discovers the artwork left behind when her reclusive elderly neighbor Mr. Dease dies suddenly. Dease is unknown as an artist and was in the process of destroying his life’s work when he died … he wanted no part of the art world, other than creating his own work. Josephina seizes on this opportunity and works with Rhodora in representing the work of this “hot” artist. As the work is monetized, the supernatural forces take over – often in quite violent ways. The players are so focused on how to capitalize on the work, it takes them an inordinate amount of time to realize evil forces are afoot. No one escapes scrutiny: artists, critics, agents, or collectors.

In cinema, if you choose to go bat**** crazy, it’s best to not hold back. Gyllenhaal plays Mort full tilt and he’s immensely fun to watch. The extraordinary ensemble cast benefits from some unusual and vivid imagery supported by expert cinematography from Oscar winner Robert Elswit (THERE WILL BE BLOOD). It’s rare for so much social commentary to be included in a project that could easily be compared to a teen slasher. There is some excellent dark humor, though maybe not quite enough, and two art exhibits in particular are memorable: Hoboman, and the Sphere. There are some clear cut groups of people in the film: the hot youngsters (Josephina, Dondon, Damrish) vs. the establishment (Mort, Rhodora, Piers) vs. misguided wannabes (Gretchen, Coco, Bryson). No matter their approach, one of the messages shines through – artists invest their soul into their work and that often stands in direct conflict with the other side of money and commerce. We can be a bit forgiving the film’s faults given the ambitious nature of the project; just be cautious of the monkeys in the mirror.

available on Netflix

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Posted by David Ferguson

HEREDITARY (2018)

July 4, 2018

 Greetings again from the darkness. I will forever carry this flame of hope for quality horror films since they were such a part of my childhood movie watching. It’s such an odd genre because the really good ones are quite rare, but the category in general is quite profitable. We enjoy being frightened and stressed … in the safety of a dark movie theatre with a few dozen fellow movie goers. This debut feature film from writer/director Ari Aster is filled with foreboding and dread – key elements to a successful horror film.

The clever filmmaker spends the first portion of the movie tricking/manipulating us into thinking this is going to be a “normal” ghost story – one we’ve seen before, albeit with a stronger than usual cast. Time and again I found myself thinking “this poor family”. Toni Collette plays Annie, mother of son Peter (Alex Wolff, brother to Nat and son of Polly Draper) and daughter Charlie (Milly Shapiro), and wife of Steve (Gabriel Byrne). Some scenes are loaded with realistic family banter – the kind that’s a bit passive-aggressive and judgmental in tone. This adds to the unsettling mood of dread that cloaks most of the characters and most every scene.

Annie is an artist who creates miniature settings, and once she unloads her family history on an unsuspecting group therapy session, we are provided a big clue, as well as confirmation that the bad times aren’t over. When tragedy strikes again, the family seems beyond repair, as do the individuals. Peter is a seemingly normal teenage boy who likes to smoke weed, and dutifully lets his little (and slightly disturbed) sister Charlie tag along to a party since his mother asked. Ms. Shapiro is a revolution in the role – somehow simultaneously both creepy and sympathetic. Father and husband Steve is very patient, a trait that rarely pays off in horror films.

The family house makes for a terrific setting, especially considering the impressive treehouse that seems to always require a space heater. Ms. Collette fully commits to the role with all its grief and terror. It’s really her performance combined with a creative story that harkens back to THE EXORCIST and ROSEMARY’S BABY, that allow the film to click. By the end, this family only wishes they were in a “normal” ghost story. And as a reminder, if you are born into a family where one member has a sleep-walking incident similar to what’s described here, you have every right to lock your door before going to sleep – that is, assuming you could ever sleep again.

watch the trailer:

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Posted by David Ferguson

BIRTHMARKED (2018)

March 29, 2018

 Greetings again from the darkness. Billed as a comedy, the movie will leave most viewers wondering wherefore art the laughs. Filmmaker Emanuel Hoss-Desmarais and his co-writer Marc Tulin aim high with a grown-up level look at the trials and tribulations of parenting – complicated here by a science experiment gone awry.

Matthew Goode plays Ben, the son of a long line of renowned scientists, and Toni Collette plays Catherine, the daughter of two noted physicists. The two nerds (a term of admiration) meet in graduate school, fall in love, and hatch a plan to conduct a revolutionary sociological scientific experiment. In 1977 they convince an arrogant and glory-seeking rich guy named Gertz (Michael Smiley) to fund an experiment with a premise that boils down to their intention of settling the nature vs. nurture debate once and for all.

Ben and Catherine plan to take their biological son Luke and turn him into an artist, while at the same time raising two adopted kids contrary to their genetic heritage. Maya, born into a family of “nitwits” will be raised as a Brainiac, while Maurice, born into a violent household, will be developed as a pacifist. It’s an interesting set-up that also includes Russian athlete Samsonov (Andreas Apergis) as their live-in caregiver/nanny, and Mrs. Tridek (Fionnula Flanagan) as Gertz’s well-meaning assistant.

The story jumps ahead to 1989 when Gertz arrives for the 12 year check-up and evaluation. When he deems the children to be “average”, Ben and Catherine are devastated. Gertz threatens them with bankruptcy if the experiment isn’t successfully expedited so he can publish the desired results. Mrs. Tridek also functions as the narrator who fills in the gaps with some details that might ordinarily leave us a bit confused.

Predictability rears its ugly head in the final act, and the film slips into more traditional cinematic story-telling and characterizations. Emotions and greed are the natural responses to the deception that has occurred, and while the adults leave us disappointed, it’s at this point where the story finally shifts to the kids and we get to see the winner in the nature vs. nurture battle. Where the film works best is in its look at just how powerful and overwhelming parenting can be, regardless of the brain power and intentions one brings to the situation. Toss in some greed and the power of biology, and the final analysis can’t be shocking, even if the film itself doesn’t quite live up to its premise.

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Posted by David Ferguson

MISS YOU ALREADY (2015)

November 5, 2015

miss you already Greetings again from the darkness. The theatre was filled with the sounds of sobbing. And by sobbing, I mean bawling … not the typical post-movie sniffles. While I was a little confused on just where my fellow movie watchers thought this story was headed, it’s understandable that sometimes a dark theatre is simply the best place to have a good cry. Director Catherine Hardwicke and screenwriter Morwenna Banks deliver an unfettered look at friendship, sickness and loss … and a reason to bring tissues.

Tearjerker movies have quite the history of success. Some of the more popular sob fests include: Love Story, Brian’s Song, Terms of Endearment, Beaches, Steel Magnolias, and The Notebook. This latest is probably most similar to Beaches in that the focus is on two lifelong female friends (polar opposites in personality) who ride the rollercoaster of life together – through good times and bad.

Milly (Toni Collette) and Jess (Drew Barrymore) meet in elementary school and experience many of life’s “firsts” together. We know this because the film begins with a bit of a clumsy flashback sequence that shoots us through their high school years, heavy partying, and finally picks up after they are married.

There are many mysteries of the female gender that those of us with Y chromosomes will never comprehend. One of those is the close friendship between the vain, center-of-attention type, and the always supportive enabler. Milly is the classic taker, while Jess is a giver. Milly is the high-flying socialite who dresses flashy and draws a crowd, while Jess is the dependable sidekick, always there to make sure Milly is never alone. It’s confounding and a bit sad to those of us who view friendship as something much different.

Both Ms. Collette and Ms. Barrymore are strong in their performances, though Collette has the much meatier role. What’s impressive about the movie is how it takes head on the horrific travails of those with breast cancer. The emotional and physical and medical aspects are all dealt with no compromise. Some of it is tough to watch, but admirable in its directness. Milly’s breast cancer takes center stage, while Jess’ struggle to get pregnant is low-keyed. Fitting for their personalities, but each based in real life sagas. Milly’s husband Kit (Dominic Cooper), and Jess’ husband Jago (Paddy Considine) both provide understandable reactions to the obstacles faced by their spouses. Add in a bleached blonde Jacqueline Bisset as Milly’s eccentric mom, and the five lead actors each contribute a relatable element to the story.

Two other actors make an impression: Frances de la Tour as a wise and direct wig-maker, and Tyson Ritter (front man for The All-American Rejects) as a free-spirited bartender who may or may not be a good influence on Milly. Even though Jess is the heart of the story, it’s Milly who dominates … just like their friendship. Green vs glamour.

Director Hardwicke will always hold a special place in my movie memories thanks to her sparkling 2003 debut Thirteen. She and writer Banks clearly understand women, and believe it crucial to show the courage required in the fight against breast cancer. Fortunately, their main character is funny and spirited, and pals around with someone we would all be proud to call a friend. And that’s nothing to cry about.

watch the trailer:

 

 

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Posted by David Ferguson

HECTOR AND THE SEARCH FOR HAPPINESS (2014)

October 8, 2014

hector Greetings again from the darkness. Don’t you feel sorry for the smart, rich doctor with the beautiful and successful wife, luxury apartment and appointment book full of patients?  What about when he loudly humiliates one of those patients for expressing her feelings? We are supposed to want Hector to be happy. But do we? Personally, I didn’t give a rip about Hector.

Based on the novel by Francois Lelord, the movie stars Simon Pegg as Hector, a psychiatrist bored with the every day rituals he has set up for himself. A rare two minutes of soul-searching leads Hector to pause his life and embark on a mission to discover the true meaning of happiness. See, Hector believes he can no longer help his patients until he helps himself. My take is that Hector can’t help his patients because he isn’t even trying … he is a narcissist and a jerk who can’t appreciate the moments that make life grand. My disgust towards people like Hector made his journey much less entertaining and enlightening than if the character were someone I cared for.

If all that weren’t bad enough, the first person Hector meets on his trip is an obnoxious business man (Stellan Skarsgard) whose key feature is that he is much richer than Hector. The two grown men tour Shanghai and the night is capped with the gift of a prostitute with a heart. This is no spoiler because Hector is the only one who doesn’t know she is a prostitute. After this, he hangs out with Tibetan monks and sets up their Skype (so he can use it).

Along the way, Hector’s OCD traits cause him to maintain a journal filled with self-help one-liners and funny drawings of his sights. His spontaneous travel itinerary and endless budget take him next to “Africa” – quotations for the generic and clichéd approach the film provides. When Hector is imprisoned by rebels, there was glimmer of hope for the movie, but soon enough, a previous favor for a drug lord (Jean Reno) pays dividends.

Somehow the movie has less insight than the similarly themed EAT PRAY LOVE, and certainly less creativity than The Secret Life of Walter Mitty. Hector’s approach even blatantly borrows from the “Tintin” stories, and makes no apology for doing so. The only moment with any emotional depth comes when Toni Collette lashes out with armchair psychology and tells Hector exactly what he is. In all fairness, the movie is directed by Peter Chelsom, who also directed Hannah Montana: The Movie, so perhaps any expectations were too high.

Despite all of the short-comings, I will always pay admission if a movie includes a 3 minute monologue from the great Christopher Plummer, an especially welcome sight here. Simon Pegg, though an incredibly gifted comic actor, is over the top miscast here. His persona is distracting to the point that we never once believe he could be a psychiatrist or that Rosamund Pike would find him appealing. But the single biggest obstacle is that an audience finds it difficult to root for a narcissistic protagonist who believes that there must be some magic potion for happiness … maybe sweet potato stew.

SEE THIS MOVIE IF: you always root for the spoiled, rich guy to win in his battle against a mid-life crisis

SKIP THIS MOVIE IF: your local cinema has a rule against throwing items at the screen during especially annoying parts

watch the trailer:

 

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Posted by David Ferguson

ENOUGH SAID (2013)

September 29, 2013

enough said Greetings again from the darkness. A Rom-Com for the 50-ish crowd is pretty darn rare. But then, writer/director Nicole Holofcener doesn’t deliver the typical rom-com filled with lame punchlines and actors with perfectly scultped bodies. Instead, James Gandolfini and Julia Louis-Dreyfus come across as real people with the expected defense mode and vulnerabilities as they try to find intimacy and a personal connection.

Albert (Gandolfini) and Eva (Louis-Dreyfus) meet at a party and subtle sparks fly as both claim they aren’t attracted to anyone at the party. While at the party, Eva, a massage therapist, also meets Marianne (Holofcener regular Catherine Keener), a charming poet who wants to hire Eva to help ease her shoulder pain. Albert and Eva begin dating, and Eva slowly comes around on Albert’s grounded and funny personality. Sure he’s a bit overweight and somewhat slobby, but he treats her well and adores her. Meanwhile, Eva’s massage work on Marianne exposes her to Marianne’s incessant complaining about her overweight and somewhat slobby ex-husband. Yep. This causes quite the dilemma for Eva because she likes Albert and she envies Marianne’s cool lifestyle. Oh and both Eva and Albert have teenage daughters getting ready to go off to college, so the couple also share parent-child separation anxiety.

enough said2 The story clearly centers around Eva, and it’s nice to see Louis-Dreyfus throttle back a little and avoid some of her sitcom standard moves. We are able to relate to Eva and though we see the corner she is backing herself in to, we also understand how quickly a little bit of poor judgment can spin out of control. Although this is Eva’s story, the real heart of the film is delivered by Gandolfini’s performance. This is no Tony Soprano … this is a real guy … a nice guy … yes, even a sweet guy.

Ms. Holofcener has set her precedent with snippy banter from intelligent characters with her previous films Please Give (2010) and Friends With Money (2006), the former I liked very much and the latter I cared little for. This time, all of her characters and their dialogue ring true and are relatable. Eva’s married friends are played by Toni Collette and Ben Falcone (married in real life to Melissa McCarthy) and they have the only hollow sub-plot with their “should we or should we not fire the maid” dilemma. The two teenage daughters are played by Tracey Fairaway and Eve Hewson (Bono‘s enough said3daughter) and both have scenes that really strike a chord and ring true.

Mr. Gandolfini passed away earlier this year and there was the thought that this would be his final released film. However, it’s been decided that Animal Rescue will be finalized and released in 2014. It’s difficult to watch him and not think what could have been over the next few years, though his legacy is quite secure. His range was much greater than many give him credit for, and I would recommend watching him in both True Romance (1993) and Welcome to the Rileys (2010).

SEE THIS MOVIE IF: you want to see a well made rom-com featuring those around 50 instead of those pushing 30 OR you want further proof of just how talented James Gandolfini was

SKIP THIS MOVIE IF: you prefer your rom-coms to be filled with mindless slapstick and cast with actors who could model for Abercrombie

watch the trailer:

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

5 Comments | Drama, Rom-Com | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

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