Maine (2018)

29 Friday Mar 2019

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Appalachian Trail, Drama, Hiking, Indie movie, Laia Costa, Matthew Brown, Review, Thomas Mann

D: Matthew Brown / 86m

Cast: Laia Costa, Thomas Mann

Bluebird (Costa) is a young Spanish woman who has come to America to distance herself from her marriage, and to walk the entire length of the Appalachian Trail from Georgia to Maine. On the trail she meets Lake (Mann), and they travel on together, getting to know each other (albeit slowly) and developing an odd kind of friendship. Along the way they meet other hikers who mistake them for a couple, but Bluebird is always quick to dispel this impression. This frustrates and annoys Lake who has developed a crush on Bluebird, and although she is friendly and conspiratorial toward him, she’s also distant and often unresponsive. As the hike continues, Lake tries to forge a closer, stronger relationship with her, but Bluebird remains emotionally reserved, and their uneasy friendship begins to unravel. But when an unexpected turn of events makes it seem as if they’re about to become closer still, the lure of a nearby town prompts Bluebird to abandon her hike without completing it. It also means the probable end of her relationship with Lake, something that he doesn’t know how to deal with. As they head into town in the back of a pick-up truck, the fate of their friendship seems entirely decided…

Opening with a wordless ten-minute sequence that places its main character firmly in the movie’s physical setting, Maine is a low-budget indie offering with a surfeit of ambition that is only fitfully exploited. On the surface, it’s about Bluebird and her search for some kind of meaning to her life – the reason she’s left Spain and her husband is never revealed – but as Matthew Brown’s debut feature (he also wrote the script) unfolds with slow, painful deliberation, whether this is really the case becomes open to question. Much of this is down to Bluebird’s wayward behaviour and the inconsistency that punctuates the time we spend with her. And though it’s always possible that said wayward behaviour could be indicative of a mind that is struggling to make sense of the thoughts inside it, because Brown chooses to make Bluebird’s motivations more ephemeral than concrete, the viewer has no choice but to interpret matters on their own and hope for the best. For many this will mean a frustrating, disappointing viewing experience that tests their patience, and much like Bluebird herself, will mean whether or not they see things through until the end. Though Brown may be aiming for ambiguity, when it’s all there is, it’s not as satisfying as it might sound.

This being essentially a two-hander – other hikers and later, a handful of townspeople, drift in and out of the narrative – much depends on the performances of Costa and Mann. Costa made a big impact in Victoria (2015), and since then has made consistently interesting choices, but here she’s saddled with a character whose arc goes nowhere (though that may be a deliberate choice – who knows?). As a result she gives a spirited yet mannered portrayal that hints at Bluebird being bi-polar, while Mann can only respond by looking confused, upset or defeated by her often callous attitude towards Lake. Their relationship flits between friendly and adversarial, optimistic and regressive, but with all these disparate elements in play it’s hard to know which are sincere and which are diversionary tactics employed by Brown to give the semblance of greater depth to the characters and the material overall. In the end, and despite everyone’s best efforts, Maine remains the kind of movie where getting to know and understand the main protagonists feels as if more effort is required than is necessary, and Brown’s directorial choices serve only to highlight how distant Bluebird and Lake remain from an audience that can’t really connect with them.

Rating: 5/10 – an unsuccessful foray into “trail movie” territory that hints at long-buried emotional traumas in both its main characters, but which refuses to explore them except superficially, Maine undermines audience expectations at every turn by remaining oblique and often dramatically inert; blessed though by Donald R. Monroe’s movement of the camera, and a succession of perfectly framed shots of the Appalachian Trail itself, this will no doubt have its supporters, but this is one time where the Emperor really has forgotten to dress himself before going out in public.

Blindspotting (2018)

15 Friday Mar 2019

Posted by dullwood68 in Movies

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Carlos López Estrada, Comedy, Commander Moving, Daveed Diggs, Drama, Indie movie, Oakland, Probation, Racism, Rafael Casal, Review

D: Carlos López Estrada / 95m

Cast: Daveed Diggs, Rafael Casal, Janina Gavankar, Jasmine Cephas Jones, Ethan Embry, Tisha Campbell Martin, Utkarsh Ambudkar, Kevin Carroll, Nyambi Nyambi, Jon Chaffin, Wayne Knight

Nearing the end of a year’s probation following a prison sentence for aggravated assault, Collin Hoskins (Diggs) is doing his best to avoid any trouble. With three days to go he’s living at a halfway house, and working with his best friend, Miles (Casal), at a removals firm called Commander Moving. One night while he’s driving back to the halfway house, he witnesses a white police officer (Embry) shoot an unarmed black man. Unwilling to jeopardise his probation, Collin elects not to come forward, but he does begin to experience nightmares about the shooting, nightmares that make him question if he’s done the right thing. Matters are further complicated by Collin’s ex-girlfriend, Val (Gavankar), working at the removal company, and Miles’ often irrational behaviour, such as buying a gun when he doesn’t need one, and giving in to violent outbursts. As Collin nears the end of his probation, two incidents involving Miles threaten his impending freedom, and he’s forced to wonder if remaining friends with Miles is going to allow him to move on with his life…

Nine years in the making, Blindspotting is the brainchild of Messrs Diggs and Casal, and a movie that aims to show what life is really like in today’s Oakland community, with all its racial variety and simmering intolerance. It’s a heady mix of comedy and drama, with a lot to say about racism, prejudice, and the title term, a phrase that means always seeing what your mind tells you is there instead of looking more closely. It’s an apt phrase for much of what causes pain and suffering in the world, our inability to see beyond what we want to see, and it’s brought out beautifully in a split screen exchange between Collin and Val that explains their whole relationship in a nutshell. The movie is full of perceptive moments like this one, with Diggs and Casal’s script being far more nuanced than anyone might have expected, and along with prejudice and the skewed perception people can have about us, it also examines notions of racial identity (and identification), as well as Oakland’s sense of its own identity now that the area is becoming more and more gentrified. Collin is wondering how he’s going to fit in once his probation is over, but as he’s reminded, he’s now known forever as a convicted felon – and how do you adjust to that?

Miles, on the other hand, knows where he fits in, but maintaining his place is his particular burden, as he too feels threatened by the changes in the community. Loudmouthed and brash, and prone to inappropriate behaviour, Miles is a relic of the past, a dinosaur unwilling to accept that his ways are fast becoming unacceptable, and threatened by the possibility that he’ll lose everything he’s achieved (and particularly his family). As Collin begins to question his future role, Miles is forced to examine his, and for both men it’s not a comfortable situation to be in. How they deal with all this is the crux of a movie that grows in confidence and charm the longer it goes on, and the script is peppered with small gems of observation, and moments of quiet introspection that perfectly complement the more dramatic scenes, such as Collin jogging through a graveyard where the dead all stand by their headstones. With so many disparate elements at work, and all needing their own moments to be effective, it’s a relief to see that Estrada (making his feature debut) never loses sight of what a scene is saying, or how best to get that message across. Directing with an honesty and a focus that boosts the material, Estrada takes Diggs and Casal’s screenplay and invests it with a sincerity and a sense of purpose that makes the narrative feel all the more impressively handled. And with both Diggs and Casal giving excellent performances, this is one occasion where being an indie movie with a voice is easily it’s best recommendation.

Rating: 9/10 – without a bum note anywhere to be had, and without resorting to cynicism or a jaded attitude, Blindspotting proves itself to be one of the most astute movies of 2018; hopefully it won’t be the last time that Diggs and Casal put together a script, but if they do, let’s hope that we don’t have to wait another nine years for it, and that it proves as hilarious, thought-provoking, sensitive, intense, and enjoyable as this is.

Soni (2018)

25 Friday Jan 2019

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Drama, Geetika Vidya Ohlyan, Gender politics, India, Indie movie, Ivan Ayr, Mohit Chauhan, New Delhi, Police force, Review, Saloni Batra, Sexism, Vikas Shukla

D: Ivan Ayr / 97m

Cast: Geetika Vidya Ohlyan, Saloni Batra, Mohinder Gujral, Mohit Chauhan, Vikas Shukla, Gauri Chakraborty, Simrat Kaur, Dimple Kaur, Dalip Kumar Gulati, Prateek Pachori, Upasya Goswami

Soni (Ohlyan) is an inspector working for the New Delhi police force. Based in the team that deals with crimes against women, Soni works the night shift, placing herself in dangerous situations in order to arrest men who attack or harass lone women. When Soni beats a man who tries to assault her, it highlights her own propensity for violence, and the anger she keeps pent up inside her. As well as causing problems for Soni, it also makes life difficult for her boss, Kalpana (Batra), who recognises Soni’s worth as an officer, but has to keep persuading her superiors that Soni is more of an asset than a liability. A further violent incident involving a drunken naval officer sees an investigation opened into Soni’s behaviour. At the same time, Soni’s estranged husband, Naveen (Shukla), attempts to reconcile with her, while Kalpana’s own marriage becomes strained because her husband, Sandeep (Chauhan), a senior officer at the same station, believes she’s too soft on Soni. Torn between defending Soni and acting appropriately as her superior, a further violent incident puts Kalpana in an awkward position and threatens Soni’s future with the police…

From its opening scene, which sees its lead character called a “dirty c*nt” before she viciously pummels her would-be attacker, it’s clear that Soni isn’t going to be your standard run-of-the-mill police-based drama. Although first-time feature director Ivan Ayr is interested in exploring the effects of violence on women working as police officers, his movie is also keen to examine the motivations that have prompted them to join in the first place, and what keeps them in the job. To do this, Ayr paints two very different portraits. Soni is a loner, her marriage having fallen apart due to events that we remain ignorant of until late on, and with few friends both within the force and outside. She’s deliberately isolated herself, and Ayr shows the extent of her isolation in the various ways she avoids being helped by others. She’s punishing herself, even at work where she feels most comfortable; such is the depth of her self-imposed misery. Kalpana is her polar opposite, a career policewoman with a stable marriage and brighter prospects. But even Kalpana has a number of problems to face, from the chiding attitude of her husband, to the awkward position she finds herself in through defending Soni.

For both women, being a part of the police force in New Delhi is an important part of who they are, and Ayr further explores the gender politics and endemic sexism that surrounds them. He does so with a quiet assurance and empathy that is evidenced by terrific performances from newcomers Ohlyan and Batra. They ensure Soni and Kalpana remain believable at all times, with the developing bond between the two women played sincerely and honestly, and their restrained, sincere portrayals prove as gripping for their emotional acuity as they are for the way they conduct themselves physically, with Ohlyan moving purposefully and with a minimum of effort, and Batra appearing as if she’s hemmed in by the demands of Kalpana’s uniform. Shot on a small budget – Ayr is also co-screenwriter and editor – the movie belies this thanks to impressive camera work from DoP David Bolen, and Ayr’s decision to shoot in long takes that lend an unexpected and nuanced immediacy to the action. The lack of a score or soundtrack is fortuitous too, allowing the viewer to concentrate on the material without the distraction of musical cues to take them by the hand and guide them towards the emotion of a scene. All in all, it’s remarkable debut, and one that lifts the lid on an aspect of Indian gender politics that cinema depicts all too rarely.

Rating: 9/10 – shot through with a mournful pessimism but still allowing a modicum of hope for both its main characters, Soni is a terrific example of an Indian indie movie; authoritative without being forthright, bold without being melodramatic, and insightful of its characters internal lives, it’s a movie that is both subtle and precise, and which exerts a powerful grip from beginning to end.

Columbus (2017)

17 Thursday Jan 2019

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Architecture, Drama, Friendship, Haley Lu Richardson, Indie movie, John Cho, Kogonada, Michelle Forbes, Review

D: Kogonada / 104m

Cast: John Cho, Haley Lu Richardson, Michelle Forbes, Rory Culkin, Parker Posey

When his father, a renowned architecture scholar, becomes ill and lapses into a coma prior to a speaking engagement in Columbus, Indiana, his estranged son, Jin (Cho), travels there to be at his side. While Jin waits for his father to recover, he meets a young local woman, Casey (Richardson), who works in a library near the hospital. Her passion for architecture is at odds with his own disinterest, but they strike up a friendship as she shows him her favourite buildings in the city. Jin reveals the differences that have kept him and his father apart for so long, while Casey admits that her mother, Maria (Forbes), is a recovering drug addict. This is also the reason why she’s passed on opportunities to leave Columbus and make a career for herself as an architect. While wrestling with his own feelings about his father, Jin challenges Casey to make something of her life, but his advice isn’t well received. It’s not until Casey discovers that her mother isn’t always at the two jobs she has, and that she may have relapsed, that Jin’s advice starts to sink in…

Every once in a while a movie comes along that is so singularly expressive that it makes you wonder why no one else has made a movie like it before. Such a movie is Columbus, the creation of video essayist Kogonada. It’s a hugely impressive feature debut, a visual tone poem that combines stark, formal screen compositions with nuanced emotional content, and which allows both these aspects to complement each other naturally and without any sense that either have been forced together unnecessarily. There are many unique buildings in Columbus, Indiana, and Kogonada incorporates them as supporting characters, rigid backdrops that provide insights into the hopes and dreams that Casey feels she has to suppress, and which Jin has abandoned. Through the use of careful framing, and recurring visual motifs – many shots are of doorways and what’s beyond them – the movie paints a wonderfully distinctive, and unexpectedly immersive portrait of a friendship that’s increasingly defined by the characters’ relationship to the spaces around them at any given time. Whether it’s Casey dancing wildly outside the formidable façade of the school she attended, or Casey and Jin having an argument within the confines of a covered bridge, the choice of location always enhances the emotional requirements of the scene in question.

While the relationship between Jin and Casey remains the kind of friendship that only exists in the movies, the script doesn’t allow itself to fall into any of the usual traps where romance rears its inappropriate head, or misunderstandings cause a rift that’s resolved too easily in the final scene. Jin’s sobering sense of duty (Korean tradition has him waiting at his father’s bedside to ensure he doesn’t die alone), is at odds with his need to live his own life free from the parental and cultural constraints he’s broken away from. Meanwhile, Casey’s own sense of duty (how will her mother cope if she leaves?), keeps her from achieving her own escape. Their friendship allows both to learn some valuable lessons from each other, but this is done in such an organic, subtle way that it feels fresh, and the outcome less than predictable. Cho and Richardson are both excellent, each giving beautifully measured performances that bring their characters to life in ways that are entirely truthful and recognisable for their aspirations and vulnerabilities. The movie adopts a slow, stately pace that suits the material, and there are narrative gaps that add a sense of mystery and which keep the viewer “on their toes”. But all in all, this is a beautiful, fascinating, lustrous gem of a movie and one of the finest in recent years.

Rating: 9/10 – with its visually stunning look courtesy of writer/director/editor Kogonada and DoP Elisha Christian, and a poignant central relationship that’s expertly played by its leads, Columbus is an unexpectedly moving treatise on loss and love that rewards the viewer at every turn; not for everyone, but for those willing to give themselves over to it, this is an exceptional movie that mesmerises and fascinates, and which does so long after it’s over.

Nancy (2018)

08 Tuesday Jan 2019

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Andrea Riseborough, Christina Choe, Drama, Grief, Indie movie, J. Smith-Cameron, Missing child, Review, Steve Buscemi

D: Christina Choe / 86m

Cast: Andrea Riseborough, J. Smith-Cameron, Steve Buscemi, Ann Dowd, John Leguizamo

Nancy Freeman (Riseborough) is a thirty-something woman who lives at home with her domineering mother, Betty (Dowd), and does agency work in various dental practices. She writes in her spare time but her work is continually rejected by publishers, and to compensate she also writes a blog offering support to people who have lost children in tragic circumstances. When her mother dies suddenly, Nancy finds herself a little adrift, but when she sees a news report about a couple whose daughter, Brooke, went missing thirty years before, and a picture of what the girl might look like today, Nancy comes to believe that she might be the missing girl. She has the barest of evidence to support any claim – a missing birth certificate is pretty much it – but it doesn’t stop her from contacting the couple, Ellen (Smith-Cameron) and Leo Lynch (Buscem i). Despite some initial misgivings, the couple invite Nancy to visit them. It’s an awkward first encounter, with Ellen clearly hoping that Nancy is her missing daughter, while Leo is more reserved and doubtful. Agreeing to a DNA test, Nancy finds herself staying longer than she planned, but as the time passes, whether or not she is the couple’s missing daughter becomes less and less important…

The debut feature of its writer/director, Nancy is a curious movie that has a clear central idea that is confidently established, but which unfortunately peters out the longer the movie continues. From the beginning it’s also clear that Nancy inhabits her own world, one in which she’s a good samaritan, kind and supportive in a way that her mother isn’t, and through her blog, someone with the best of intentions but the worst of motivations. She agrees to meet Jeb (Leguizamo), a man whose daughter died just hours after being born; Nancy meets him and pretends to be pregnant. Watching her do this, and hearing later how she justifies her behaviour adds a frisson of tension when she hears about the Lynches missing daughter. What lies will she tell? How much will she deliberately mislead them? And how will she justify her actions if the DNA test proves what the viewer – and Nancy – has known all along: that she isn’t the Lynches child? All these questions are answered by Choe as the movie progresses, but it’s still slightly chilling knowing the level of deception that this still grieivng couple are being exposed to.

And therein lies the movie’s central problem: the deception itself and the couple’s reactions to it. Ellen is understandably keen for Nancy to be the real thing, while Leo’s reluctance to believe implicitly in Nancy’s claim is the more rational, and self-protective approach. But this difference in belief never causes any anatagonism between them, and Choe sweeps away any chance that they’ll confront Nancy with their suspicions, preferring instead to present the narrative as a kind of reverse cuckoo-in-the-nest tale where the cuckoo is made completely welcome. This makes the scenes at the Lynches home feel under-developed, as if once Choe had got her characters together she wasn’t quite sure what to do with them. Instead of upping the drama, Choe allows the plot and storyline to move pedantically forward, and the muted energy of the first half an hour gives way to a more stilted, less fluid approach that robs the movie of any impact in the final stretch. Smith-Cameron and Buscemi are entirely credible as the couple who keep finding new hope to alleviate their grief, while Riseborough is astounding as a woman who is unable to reconcile a strong desire to help others with a disturbing lack of empathy. But good though the performances are, they can’t stop the movie from becoming more and more dramatically moribund as time goes on.

Rating: 7/10 – a melancholy look at what can happen when someone who doesn’t understand affection finds herself finally receiving it, Nancy features a mesmerising performance from Riseborough (despite a very unconvincing wig), and impressive visuals courtesy of DoP Zoe White; in wanting to be a haunting tale of unconditional acceptance, the movie continually stumbles, but it finds firmer footing when Nancy is by herself, and the extent of her inability to connect appropriately with others can be fully gauged and understood.

Skate Kitchen (2018)

06 Sunday Jan 2019

Posted by dullwood68 in Movies

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Ardelia Lovelace, Crystal Moselle, Drama, Indie movie, Jaden Smith, New York City, Nina Moran, Rachelle Vinberg, Review, Skateboarding

D: Crystal Moselle / 106m

Cast: Rachelle Vinberg, Ardelia Lovelace, Nina Moran, Jaden Smith, Elizabeth Rodriguez, Kabrina Adams, Ajani Russell, Jules Lorenzo, Tashiana Washington, Hisham Tawfiq

Camille (Vinberg) is an eighteen year old Long Islander who spends much of her free time on her skateboard, or watching skateboarding videos on her phone. When she suffers a nasty accident falling off her board, her mother (Rodriguez) makes Camille promise not to continue with it. But it’s not long before Camille goes against her mother’s wishes. Discovering that an all-female skateboard collective called Skate Kitchen meets up regularly in New York City, Camille decides to go. She’s welcomed by the group, and soon she’s spending as much time as she can with them, while lying to her mother about her whereabouts. When Camille’s deception is discovered, it causes a falling out between her and her mother, and Camille ends up staying with Janay (Lovelace), one of the Skate Kitchen crew. She gets a job in a store, and becomes friends with a male skateboarder, Devon (Smith). When Janay suffers an ankle injury and is laid up at home, Camille starts to hang out more and more with Devon, but as their friendship grows, Camille learns that Janay has feelings for Devon as well…

Expanded from the short That One Day (2016), which also featured Vinberg and the Skate Kitchen crew, this feature length look at skateboarding culture and what it means for a group of young women is a mesmerising, accomplished movie that leaves the viewer in no doubt as to the sense of camaraderie and friendship that being part of Skate Kitchen provides. Camille is looking for somewhere to belong. Her parents are divorced, and though she lives with her mother, their relationship is often a rocky one. Skateboarding, with its semi-underground status and its own code of conduct allows Camille to feel that she’s a part of something bigger than herself, something that as she herself puts it, stops her from feeling “alone”. But Camille is also an eighteen year old whose life experience is far behind the likes of Janay and Nina (Moran), and though she feels right at home in their company – and female solidarity is an important aspect of being in the group – the potential for a romantic relationship with Devon eventually causes a rift that has the further potential to see Camille alone again. It’s that old coming-of-age dilemma: whether to stick with your friends, or move on – while being aware of the consequences.

This is Moselle’s first feature – she also made the intriguing documentary The Wolfpack (2015) – and the connection she’s made with the Skate Kitchen crew allows for a movie that has a fictional storyline but which also has an air of verisimilitude that grounds the action in a much greater reality than would otherwise be expected. There’s a freedom in skateboarding that Moselle captures through expressive, almost rhythmical camerawork, as the girls weave along sidewalks and in and out of traffic, their confidence and the ebullience they exhibit highlighting the sheer pleasure they must be experiencing. And it’s clear from the amount of bruises and scrapes the crew all display throughout the movie that no one’s faking any of it (well, except for Smith, who needed a skateboarding double). Away from the various skate parks and improvised bouts of boardslides and kickflips, the narrative is kept fairly simple, as Camille learns from her friends about love and sex, and she gets into deep water because of her uncertain attraction to Devon. Vinberg is a convincing ingenue, and though the Skate Kitchen members are basically playing themselves, there’s a freshness and a spontaneity about all of them that wouldn’t have been captured if they’d been played by actresses. And again, it’s this verisimilitude that makes the movie feel honest and sincere in its approach, and which helps it feel more like a slice of life than something carefully orchestrated or put together.

Rating: 8/10 – a wonderfully bright and affirming look at a sub-culture most of us will be unfamiliar with, Skate Kitchen is short on plot but big on friendship and young women looking out for each other (sadly, most of the male skateboarders are prideful dicks); it’s exactly the kind of movie that will make you want to go out and grab a skateboard and try your own tricks, which makes it not only life affirming, but inspirational too.

Outside In (2017)

17 Monday Dec 2018

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Drama, Edie Falco, Granite Falls, Indie movie, Jay Duplass, Kaitlyn Dever, Lynn Shelton, Murder, Parole, Review, Romance

D: Lynn Shelton / 109m

Cast: Edie Falco, Jay Duplass, Kaitlyn Dever, Ben Schwartz, Charles Leggett, Eryn Rea, Matt Molloy, Pamela Reed

After spending the last twenty years in prison for murder, Chris (Duplass) is paroled and returns to his home town of Granite Falls. At a surprise party given by his brother, Ted (Schwartz), Chris reunites with Carol (Falco), one of his high school teachers and the person whose efforts have helped gain his release. Later, Carol begins to realise that Chris has a crush on her, something that is confirmed when he kisses her outside her home and declares his love for her. Carol insists they can only be friends, but even that proves difficult, as when he and Carol do begin to spend time together, it’s in the company of Carol’s teenage daughter, Hildy (Dever). While Carol does her best to put some distance between them, Hildy becomes interested in Chris and begins to hang out with him. But though he and Hildy get on, Chris still hopes to be with Carol, and convinces her to spend the day with him as a kind of final, one off experience that would allow him to move on. But while the day goes better than they could have hoped for, the following day sees things begin to go badly wrong…

Featuring an original screenplay by director Shelton and star Duplass, Outside In is a subtle, elegantly paced drama that explores the emotional vicissitudes of two people whose close bond has been developed over years in which they have only been able to exchange their ideas and feelings through letters. How much longing would build up over all that time, the movie asks, and how would someone deal with the inevitable pressure of expectation that would bring? Well, for Chris it’s easy: he blurts out his feelings as if it were the simplest thing in the world to do. But for Carol, the pressure she feels is different. Married – though to an indifferent husband (Leggett) – and with a daughter who is trying to deal with her own issues, Carol’s feelings for Chris are tempered by responsibility and their inappropriate nature. While Chris persists in his attentions, Carol feels the weight of her own expectations slowly eroding her will to say no. And though there are no prizes for guessing how things will turn out on their day together, Shelton and Duplass’s sympathetic and revealing screenplay ensures that what follows isn’t as easily deciphered.

The movie is anchored by two terrific central performances. Falco offers a quietly devastating portrayal of a middle-aged woman who is only now beginning to realise just how much she’s settled for in her life. As she struggles with her feelings for Chris, Carol’s inner torment is perfectly expressed by Falco, and the depth of her feelings, and the crisis it’s causing her is beautifully rendered. Just as good, but in a different fashion, Duplass plays Chris as a thirty-eight year old man suffering from arrested development, still the eighteen year old he was when he went to jail, and still viewing much of life through the eyes of a teenager. That he’s not fully aware of this should be tragic, but Chris is so good-natured and kind that it counts almost as a blessing, and Duplass uses the character’s naïvete to good effect. This is a movie that is decisive and impactful in equal measure, and in service to a story that builds momentum while avoiding many of the clichés that you might expect from yet another “small-town story”. Shelton has made perhaps her best movie yet, and the whole thing is given a further boost thanks to a lovely, wistful, engaging soundtrack courtesy of Andrew Bird.

Rating: 8/10 – full of quiet, tender moments that carry an unexpected emotional wallop, Outside In is a beautifully crafted and shot movie (by Nathan M. Miller) that takes its time in developing both the main storyline and the inner lives of its two central characters; a movie about hope and longing, and how there are many, different kinds of imprisonment, the latest from the prolific Duplass brothers reconfirms that when it comes to small scale indie dramas, they’re still in a league of their own.

Burn Burn Burn (2015)

09 Friday Nov 2018

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Ashes, Chanya Button, Chloe Pirrie, Comedy, Drama, Indie movie, Jack Farthing, Laura Carmichael, Review, Road trip

D: Chanya Button / 105m

Cast: Laura Carmichael, Chloe Pirrie, Jack Farthing, Joe Dempsie, Alice Lowe, Julian Rhind-Tutt, Sally Phillips, Melanie Walters, Jane Asher, Nigel Planer, Matthew Kelly, Alison Steadman

Following the death of their friend, Dan (Farthing), best friends Seph (Carmichael) and Alex (Pirrie) find themselves tasked with spreading his ashes at four different locations. To help make sense of his choices, Dan has made several short videos that the pair have to watch when they arrive at each destination. At first, though, they aren’t keen on the idea, and decide not to do it. But when their grief and anger and confusion over Dan’s death from cancer causes both of them to lose their jobs (and Alex discovers her girlfriend is seeing someone else), they head out on the road to carry out his final wishes. Along the way, Seph begins to doubt whether she and her boyfriend, James (Dempsie) should be together, a detour to visit Alex’s mother (Walters) leads to the exposure of uncomfortable truths for Alex, and Seph’s behaviour threatens to cause a rift between them that’s exacerbated by some scathing comments by Dan on his videos. It all leaves Seph and Alex wondering if agreeing to Dan’s wishes was the right thing to do…

A charming mix of drama and comedy that often hides a melancholy centre, Burn Burn Burn is a deceptively sincere meditation on the nature of regret and the emotional toll it can take. Dan regrets the life he’ll no longer live and what he perceives as the mistakes he’s made with his mother (Asher). Seph regrets the choices she’s made both professionally (she works as a nanny for a therapist who consults from home) and personally (her relationship with James). And Alex has regrets over a childhood incident that causes her to push people away. It’s no wonder that they all became friends: how could they not when they’re such kindred spirits? The beauty of Charlie Covell’s nimble screenplay is that Dan uses his regrets as a way of challenging Seph and Alex to examine and overcome their own problems, and as the journey progresses from location to location, so Seph and Alex confront and overcome the things that are holding them back. There’s a welcome lack of empty sentimentality, and none of the cloying mawkishness that might ordinarily come with a movie such as this, and Button, making her first feature, keeps a tight control over the emotional dilemmas and resolutions that the screenplay delivers with aplomb.

The movie also offers up several surprising scenes that seem out of place at first, but which on closer inspection, relate closely to the characters and their predicaments. Alex makes a startling confession while tied to a cross (she’s standing in for an AWOL am-dram Jesus), while an overnight stay at a commune headed by counter-culture philosopher Adam (Rhind-Tutt) sees the pair part of a group gazing at the stars and determining what’s important in life. Moments such as these add appreciable depth and no small amount of artless candour to the narrative, and help make the characters’ problems relatable. As the troubled pair, Carmichael and Pirrie both provide astute, sympathetic, and likeable performances, and there’s fine work from Farthing that roots around in the despair of dying too young with a frankness that’s often unsettling to watch. The rest of the cast looks like a who’s who of acceptable British cameo providers, and Lowe aside (who’s once again asked to play the same character she normally plays, just in a medieval costume), they acquit themselves well, offering deft touches and character beats that flesh out their roles. Their portrayals are all in service to a movie that eschews the usual quirky road trip analogies, and which centres instead on telling its heartfelt story with quiet verve and incisiveness.

Rating: 8/10 – a winning blend of honest drama and good-natured comedy, Burn Burn Burn is a modest yet effective first outing from Button that is a pleasant and rewarding alternative to the huge number of similar movies that are out there; brimming with confidence, and unafraid to tackle some difficult topics head on, it’s bolstered by a moving score and soundtrack courtesy of Marc Canham and the indie band Candy Says, and leaves you wanting to know just how Seph and Alex get on once their trip is over.

Everything Beautiful Is Far Away (2017)

07 Wednesday Nov 2018

Posted by dullwood68 in Movies

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Andrea Sisson, Desert, Drama, Indie movie, Joseph Cross, Julia Garner, Pete Ohs, Review, Sci-fi, The Crystal Lake

D: Pete Ohs, Andrea Sisson / 91m

Cast: Julia Garner, Joseph Cross, C.S. Lee, Jillian Mayer

Trekking across a nameless desert with no destination in mind, or any particular idea of where he is in relation to anywhere else, Lernert (Cross) is alone except for a robot head he carries with him, called Susan (Mayer). Lernert has a plan to provide Susan with a new body, but the occasional items he finds on his journey are largely unsuitable. One day he discovers a young woman (Garner) who has eaten a poisonous root vegetable. Saving her life, he attempts to connect with her, but she prefers to continue her own travels by herself. Later, the tables are turned when Lernert suffers an injury that renders him unconscious, and the woman, whose name is Rola, tends to his wound. While he’s unconscious she finds an illustrated book that Lernert is writing called The Quest for the Key. The story mentions a crystal lake, which Rola finds too coincidental: she is searching for a semi-mythical crystal lake located somewhere in the desert. When Lernert comes to, he tells her he doesn’t know anything about it, but they agree to look for it together. And when they find a power source that allows Susan to be “woken up”, she reveals that she knows how to gude them there…

If you’re a fan of slow moving, leisurely paced, yet absorbing sci-fi movies set in an uncertain future, then Everything Beautiful Is Far Away will be exactly what you’re looking for. Winner of the US Fiction Cinematography Award at the 2017 Los Angeles Film Festival, the movie looks and feels like an elegiac meditation on the will (and the need) to believe in something greater than oneself – the crystal lake as a symbol of hope, and possibly, redemption – and the importance of the journey towards it. Lernert appears to have a purpose in wandering the desert, but it’s mainly to stay alive and avoid any signs of civilisation (at one point a city can be glimpsed in the distance, but the ominous cloud hanging over it acts as a warning: don’t go there). Whatever has happened, Lernert is doing his best to get away from it. Likewise Rola, though her goal is clearer and more defined: there’s a crystal lake and even though there’s no proof it exists, she’s determined to find it. Part wishful thinking, part survivalist mantra, Rola’s search for the lake brooks no discussion. With nothing better to do to occupy his time, what else should Lernert do but accompany her?

Most movies of this nature would soon have its lead characters becoming romantically attached, but screenwriter and co-director Ohs has other ideas, and keeps Rola and Lernert at arms length from each other. Instead they become friends, and this is much more realistic and in keeping with the movie’s modest aims and ambitions. Ohs slowly builds up their relationship, and their increasing reliance on each other, and as their journey continues, they also learn from each other. Ohs and Sisson ensure these developments play out naturally and with little to no artifice, and their efforts are rewarded by note perfect performances from Garner and Cross. There’s subtlety and nuance to both their roles, and though we learn nothing of their characters’ back stories (or what catastrophe has befallen the world), we’re more than happy to follow them on their search for the lake. The co-directors also keep things interesting visually, emphasising the bleakness and the beauty of the desert landscapes Rola and Lernert are traversing, while also including themes relating to our reliance on technology, and why our belief systems are so important to us. It’s perhaps a polarising movie – you’ll either love it or hate it – but there’s no denying that it’s unexpectedly compelling, and a refreshing change from more mainstream fare.

Rating: 8/10 – a singular movie that takes chances with its narrative, though they’re rewarding ones over all, Everything Beautiful Is Far Away is affecting and beautifully rendered; the sci-fi elements are downplayed in favour of a more traditional dramatic approach, Alan Palomo provides a musical backdrop that is oddly reflective of Lernert and Rola’s unusual journey, and the cinematography – by Ohs and Christian Sorensen Hansen – is well deserving of its festival award.

The Joke Thief (2018)

06 Tuesday Nov 2018

Posted by dullwood68 in Movies

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Car dealership, Comedian, Daniel Baldwin, Drama, Frank D'Angelo, Indie movie, Review, Stand up comedy, Sugith Varughese, The Comedy Basement, Uber driver

D: Frank D’Angelo / 81m

Cast: Frank D’Angelo, Sugith Varughese, Daniel Baldwin, Jason Blicker, Tony Nardi, Alyson Court, Art Hindle, Mike Marino, John Ashton

Simon McCabe (D’Angelo) has wanted one thing his whole life: to be a comedian. But although he’s had a number of opportunities, he’s never been able to make the most of them. Now, with one last opportunity having landed in his lap – a spot on a show at the Comedy Basement which is being filmed for cable TV – Simon has to decide if he really wants his dream to come true. It’s a decision he appears ill-equipped to make, as over the years his lack of success has soured him, both professionally and personally. Having turned his back on the family business, a car dealership founded by his father (Hindle), Simon avoids responsibility and treats others, including his brother (Blicker), with disdain. What doesn’t help is that Simon has a reputation as a “joke thief”, someone who uses other people’s material in his act. While on his way to the Comedy Basement, Simon finds himself opening up to his Uber driver, Jerry (Varughese), and reflecting on various moments from his life that have led him to where he is now…

A melancholy, bittersweet, but ultimately rambling movie that dosn’t make as much sense as its writer/producer/director/star was probably aiming for, The Joke Thief relies too heavily on stand up performances from the likes of Marino to pad out an already slight storyline that revolves around Simon’s last shot at personal redemption. It also paints Simon as a misanthrope, and despite a last minute change of heart and soul – thanks to the clumsy intervention of Jerry the Uber driver, who tells Simon to have faith – he’s not a character you can warm to. Yes, he is funny, albeit in an offhand, determinedly rebellious kind of way, but D’Angelo’s script can’t decide if his being a joke thief is a bad thing or not. Baldwin’s host and Comedy Basement owner doesn’t like him, and only lets him have a slot as a favour to a fellow comedian (Nardi). But his other fellow comedians are courteous and encouraging toward him, which makes his reputation something that is certainly remarked upon but which remains unexplored. With all the flashbacks that D’Angelo inserts into the narrative, we never get a clue as to why Simon doesn’t write his own material, or why he’s chosen to plagiarise others.

In the end, D’Angelo makes an awkward fist of things, from Simon’s regret at not being with his father when he died, to being there for his mother’s last breath only for her to berate him for being sad and unhappy, and his regular dismissal of, and attempts at exploiting, his brother’s affection for him. There’s also Simon’s treatment of women, which is also exploitative and wildly inappropriate, and such is D’Angelo’s skewed approach to the character, he actually rewards his behaviour with the prospect of a long-term relationship (one that appears to be his first). But it’s the character of Jerry the Uber driver that belies any sense that D’Angelo has worked out in advance what his movie is about. Jerry is the balm for Simon’s misery, someone who doesn’t get his jokes but who knows he’s a good man and a good comedian anyway. Jerry has faith, and amazingly, during the course of a short trip, convinces Simon to have faith as well and believe in himself (ah, if only Life were so simple to work out). Apparently, D’Angelo only spends a couple of days writing his scripts, and sadly, it shows. Somewhere in this movie is a mordaunt meditation on the rehabilitation that can be achieved through humour, but here it’s a blunt message that doesn’t convince, and which comes at the expense of any sympathy for the main character.

Rating: 4/10 – surrounding himself with comedians who really do know how to be funny, D’Angelo struggles to make Simon anywhere near as good, and this disparity hurts The Joke Thief tremendously; with modest performances all round, but in service to material that doesn’t lend itself to providing viewers with anything too memorable, it’s a movie that frustrates more than it impresses.

I Don’t Feel at Home in This World Anymore. (2017)

01 Saturday Sep 2018

Posted by dullwood68 in Movies

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Burglary, Comedy, David Yow, Devon Graye, Drama, Elijah Wood, Indie movie, Macon Blair, Melanie Lynskey, Review

D: Macon Blair / 93m

Cast: Melanie Lynskey, Elijah Wood, David Yow, Devon Graye, Jane Levy, Gary Anthony Williams, Myron Natwick, Christine Woods, Robert Longstreet

Ruth (Lynskey) is a nursing assistant who is continually annoyed by the thoughtlessness of others. When she comes home from work one day to find that she’s been burgled and the thief has stolen her laptop, grandmother’s silverware and some prescription medication, her day is made even worse when the investigating detective, Bendix (Williams), chides her for leaving her back door unlocked. Later, as she goes door to door to see if anyone saw anything, she meets Tony (Wood) who becomes violently outraged at what has happened. Ruth discovers evidence in her backyard – a conspicuous shoeprint in the mud – and when she uses a phone app to track her laptop, and discovers its location, Bendix is uninterested. Needing someone to go with her to retrieve her laptop, Ruth asks Tony, who’s only too keen to do so. When they get it back, they learn it was bought from a resale shop. There, Ruth discovers her grandmother’s silverware, and as she tries to sneak it out, she also discovers a young man (Graye) at the counter wearing a shoe that’s a match for the print in her garden…

The words ‘quirky’ and ‘unconventional’ seem tailor-made for I Don’t Feel at Home in This World Anymore., Macon Blair’s feature debut as a writer/director. You could add ‘wacky’ and ‘peculiar’, and they wouldn’t be too far off the mark either. But while there are plenty of other low budget indie movies that fit those descriptions quite easily, what Blair has achieved here is something a little more rarefied. In Ruth, there’s a temptation to view this as a “worm has turned” story, but that would be to cast a superficial eye over both the material and Ruth herself. Ruth may be one of Life’s minor victims, and she may appear to be a bystander in her own life, but she has an innate strength of character that just needs the right stimulus to bring her into her own. Being robbed does just that, and by aligning herself with Tony – who has a number of his own issues – Ruth becomes empowered in a way she’s unfamiliar with. It’s a step in the right direction, but Blair is confident enough in his screenplay to ensure that Ruth’s journey doesn’t change her completely. By the end, she’s more positive, but she’s still finding herself.

By making Ruth’s journey one that is affectionately handled and which resonates far more than expected, Blair has gifted Lynskey with yet another terrific role for the actress to make her own. Whether she’s sipping beer from a bottle out of habit, or being instinctively happy when she finds others are reading the same book she is, Ruth is a wonderful creation. Blair is equally on form with the rest of the characters, with Wood’s NWBHM-loving Tony prone to inappropriate violent outbursts, and Graye’s troubled teen burglar, Christian, having a back story that takes the material into unforeseen territory. In amongst the millennial concerns and suburban drama there’s a great deal of comedy, from Ruth’s look when asked the last words of a deceased patient, to a lovely visual gag involving Tony’s dog, Kevin, and the reaction of Christian’s stepmother (Woods) when asked why she’s speaking to two fake cops (that she knows are fake cops). Blair’s ‘quirky’ sensibility ensures the movie is always interesting for what’s going to happen next, and there’s first-rate cinematography from Larkin Seiple that paints Ruth’s particular part of suburbia as a bright yet deceptively unstable place to live.

Rating: 8/10 – another wonderful performance from the always reliable Lynskey anchors I Don’t Feel at Home in This World Anymore., and makes it one of the more enjoyable indie movies of recent years; with such a good meld of drama and comedy, and a cruel streak to keep things ‘unconventional’, Blair’s directorial debut is so good that his next movie can’t come quickly enough.

Hickey (2016)

06 Wednesday Dec 2017

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Alex Grossman, Comedy, Cy's Auto Sound and Stereo, Drama, Flavia Watson, Indie movie, Review, Romance, Troy Doherty, Zedrick Restauro

D: Alex Grossman / 80m

Cast: Troy Doherty, Flavia Watson, Zedrick Restauro, Raychel Diane Weiner, Alex Ashbaugh, Ross Mackenzie, Tommy “Tiny” Lister, Janie Haddad Tompkins, Nicholas Azarian, Danny Chambers, Herb Isaacs

Low-budget independent movies have been with us since the beginning of cinema itself, and have ranged from cheap and nasty horrors to poorly imagined sci-fi movies, and that glorious institution, the teen comedy. Some of these movies have managed to transcend their restrictive budgets and become successful – The Blair Witch Project (1999) is perhaps the best example – but most receive a fleeting moment in the spotlight before fading into obscurity, or appearing at odd hours of the night on cable or satellite channels that most people don’t even know are transmitting. The casts and crews that make these movies are often doing it for experience, the outside chance of being in a bona fide hit (or festival darling), or for the love of it (and sometimes all three). Whatever the reasons, there are thousands of these low-budget features made every year. And for any of them to stand out from the crowd, they’ve got to have something that most, if not all, the others don’t have.

In the case of Alex Grossman’s first feature, which was made for under $200,000, that something isn’t too easy to define. His tale is a fairly simple one: boy loves girl, girl doesn’t know, boy faces losing girl, boy comes up with risky scheme to keep her around until he plucks up the courage to tell her he loves her. Here, the boy is Ryan (Doherty), a bit of a maths whizz who works at Cy’s Auto Sound and Stereo alongside the girl he’s fallen in love with, Carly (Watson). Ryan is a few months away from going to MIT, but a far more pressing and urgent matter prompts Ryan into speeding up his efforts to make his feelings known. The store is marked for closure for failing to meet its sales targets, but undeterred by this, Ryan arranges for the store to have a massive one-day sale to help a) show that the store is still viable, and b) give him the opportunity to confess his attraction to Carly. Aided by his colleague and friend, Jeremy (Restauro), Ryan sets about saving the store, and his potential future relationship with Carly. But, of course, there are more than a few obstacles along the way, including regional manager Brady (Ashbaugh), and the news that he and Carly once dated…

Written and directed by Grossman, Hickey is a confident, freewheeling mix of comedy, drama and romance that is appealing and likeable, while not exactly reinventing the wheel. The movie is a collection of stock characters and situations that sometimes border on being clichés, but thanks to a combination of Grossman’s direction and his cast’s enthusiasm, the movie doesn’t suffer too much even though there are glaring moments where originality clearly wasn’t the order of the day. Thankfully, these moments don’t detract from the overall enjoyment to be had from watching Ryan and his often humorous efforts to save the store, and the romantic longueurs that pepper the script on various occasions. But be warned: there are points in the story where the momentum that Grossman has built up grinds to a halt, and the movie teeters on the brink of losing the viewer’s interest. This seems to be as much about Grossman’s inexperience in directing features – he was a commercials director before this – as it is about the way he’s structured the material over its eighty minute runtime. But again, there’s more here that works than doesn’t.

The milieu will be familiar to most viewers – a band of quirky underachievers take on a seemingly hopeless situation – but this is one of those movies where the visual and character shorthand that comes with it, makes the viewing experience all the more enjoyable. There aren’t too many moments where you’ll find yourself laughing out loud (wry smiles would seem to be more appropriate), and the drama of the looming store closure never really feels like it’s locked in as solidly as it should be, but Grossman scores highly with his characters. Ryan is the romantically awkward, gawky teenager whose heart is in the right place but whose confidence with the opposite sex is hiding right behind it, and terrified to come out. Carly is the seemingly carefree love interest who can see past Ryan’s gauche behaviour and nerdish looks and who will, inevitably, realise she loves him too. The supporting characters are (largely) well integrated into the narrative, with Jeremy’s prickly, occasionally inappropriate behaviour allowed to stand out because of his connection to Ryan. The only character who doesn’t ring true is Brady, the erstwhile villain of the piece whose demeanour feels cartoonish and forced.

In telling his somewhat lightweight story, Grossman at least ensures that the viewer remains invested in what’s going to happen next, even if some of the plot developments come across as laboured. There are times throughout when it’s clear that Grossman is striving for more than his budgetary constraints will allow him, but it’s all in service to the material, and in trying to make the movie as good as possible. Where some movie makers settle for what they can achieve without making that extra effort to improve things, Hickey‘s creator is at least aiming for more. That he’s not always successful is a shame, as the movie has a lot of heart and a clutch of winning characters. A more polished script would have helped too, but it’s still hard to knock a movie that’s clearly trying, and which doesn’t want to disappoint its audience too much or too often.

In the end, Hickey is a likeable movie that won’t make much of an impact, and which is likely to fall into that category of unfortunate features that people discover by accident while channel hopping, or trawling through the movies available on Netflix or Amazon Prime. It’s not obscurity as such, but it is a sad fate for many movies, though Hickey doesn’t deserve it. With its amiable approach, and wistful romantic idealism at the forefront of the narrative, the movie is another example of what can be achieved on a very low budget indeed. Seamus Tierney’s cinematography is a bonus, his framing and use of medium shots often adding to the emotion of a scene, and there’s a wonderful score by Gregory Reeves that complements the material without being unnecessarily intrusive. In assembling his first feature, Grossman is to be congratulated for doing so well, even if he’s not been able to overcome some of the more obvious drawbacks.

Rating: 6/10 – a movie that shows promise in terms of where its writer/director’s career is heading, Hickey is a teen comedy/romance/drama that makes great efforts to stand out from the crowd, and avoid being labelled “so-so”; with good performances from its (mostly) young cast, it’s a sweet-natured, agreeable movie that may not garner a huge following, but which should still attract viewers that will appreciate its modest charms.

Blue Jay (2016)

16 Wednesday Nov 2016

Posted by dullwood68 in Movies

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Alex Lehmann, Drama, Improvisation, Indie movie, Mark Duplass, Relationships, Review, Role play, Sarah Paulson

D: Alex Lehmann / 80m

Cast: Mark Duplass, Sarah Paulson, Clu Gulager

Having been living and working in Tucson for a while, Jim (Duplass) returns to his childhood home in California following the death of his mother. He’s in the process of going through the house and clearing it when a trip to the local supermarket finds him bumping into Amanda (Paulson), his teenage sweetheart. She’s in town visiting her sister who’s having a baby. At first, their meeting up is awkward and their attempts at conversation are stilted. They part, but outside in the parking lot, Jim asks Amanda if she’d like to go get a coffee. She agrees, and they head for the nearby Blue Jay diner.

There they begin to catch up properly. Jim reveals that he’s been doing dry wall work with his uncle in Tucson, and is thinking of doing up his mother’s house and selling it, while Amanda speaks of her marriage to Chris, and finding herself a mother to his two kids when they got married. Both tell each other their lives are good, but it’s clear that Jim isn’t as happy as Amanda appears to be. From the diner they go to a store they used to frequent as teenagers, and where the owner, Waynie (Gulager), still remembers them after twenty-two years. From there they venture to a spot near the river where they used to go. There, Jim reveals that he doesn’t have a job at the moment due to a falling out with his uncle, and that he doesn’t have a clue what he’s going to do next.

Amanda tells him she wants to see his mother’s house. When they get there, Amanda is astonished by the amount of stuff that’s still there from the time they were together: from mixtapes to photos to notebooks and letters, and one unopened letter in particular that’s addressed to her, and which she hides in her coat pocket. Jim digs out an old cassette player and they listen to recordings they made, and one where they were pretending to be an old married couple celebrating their fortieth wedding anniversary. They reminisce further, and decide to recreate that fictitious anniversary through having a meal together. As the evening wears on, both Jim and Amanda begin to grow closer, until it seems that their past will overshadow the present…

Although there are several moments in Blue Jay where Mark Duplass’s “script” seems hellbent on striking a pose for lost love, and its reclamation, it’s thanks to said “script” being an outline around which both Duplass and Paulson have improvised their dialogue, that it avoids this likely pitfall, and in doing so makes Jim and Amanda’s predicament all the more credible. Make no mistake, the relationship and the conversations that occur in the movie, could only happen in a movie, and though this level of artifice has all the potential of feeling flat and awkward to watch, it’s a mark of the commitment and the intelligence of its two stars that Blue Jay never once feels forced or uncomfortably set up.

However, this is an ex-couple who have secrets to reveal, and it’s the way in which these secrets are held at bay until the last ten minutes that is worrisome in terms of what goes before. At first, and despite their initial awkwardness with each other, Jim and Amanda appear to pick up from where they have left off over twenty years ago, and even though we don’t know the reason they split up, there aren’t any signs that it was contentious on either side, or that it’s left them embittered with each other. They’re open and (mostly) honest with each other, and they’re clearly enjoying being together again after such a long time. As well, both Duplass and Paulson seem at ease with each other as actors, and they have a confidence in each other’s abilities that helps the story and their characters along.

Back at Jim’s mother’s house – or his boyhood home, though it’s interesting that it’s rarely referred to as that – further reminders of the past spark what can only be described as an unsettling game of role playing. Watching these two ex-lovers play at being a couple celebrating their twentieth wedding anniversary, is an odd, worrisome turn of events that prompts the question, why would they do that? Or, why would they feel the need to revisit the games of their youth in that particular way? Are they that unhappy with their lives now? The answers to those questions remain unanswered for the most part, with only hints and clues dropped at random in the conversations that follow, but what is clear is that there’s a longing for some kind of connection that they don’t have with anyone else. Maybe the role playing facilitates that, and brings them back to the people, the couple, they once were. Maybe that period was their relationship peak.

You can interpret their actions in many different ways, and the likelihood would be that no one interpretation would be completely wrong or completely right. Duplass and Lehmann (making his feature debut), don’t appear to want the movie to be that black and white (and despite it being shot in that format), but once the reason for their split is revealed it has such a jarring effect that it’s a bit like being slapped in the face. And it has the unfortunate effect of calling into question everything that’s gone before, and the ease with which these two have reconnected. Would their running into each other really have led to coffee and jelly beans and dinner and head rubs? Wouldn’t the wedge that drove them apart still be there, and as it happens, especially on Jim’s side?

In the real world, absolutely (it’s a very big wedge). But again this is a movie, and though we can allow some suspension of disbelief, and admire the consistency of tone and purpose that’s been achieved, the movie is derailed by its revelation; and by the scene that follows, which aims for some degree of closure, but ends up looking and sounding incomplete, the one time in the movie where Duplass, Paulson and Lehmann have decided that what they’ve got is just enough (or perhaps worse still, will have to do). In the end, it upsets the rhythms established earlier in the movie, and leaves the viewer feeling that they’ve been tricked into having to accept an ending that doesn’t match what’s gone before.

Rating: 8/10 – despite it’s unsatisfactory denouement, Blue Jay has much to recommend it, and Duplass and Paulson should be congratulated for maintaining the truth of their characters through improvisation and intuition; Lehmann’s shiny black and white photography enhances the sense of nostalgia the movie revels in, and its quiet, brooding nature is a perfect fit for the way in which the characters move around each other.

Wiener-Dog (2016)

05 Wednesday Oct 2016

Posted by dullwood68 in Movies

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Black comedy, Cancer, Danny DeVito, Doody, Drama, Ellen Burstyn, Greta Gerwig, Indie movie, Julie Delpy, Review, Todd Solondz

D: Todd Solondz / 88m

Cast: Julie Delpy, Keaton Nigel Cooke, Tracy Letts, Greta Gerwig, Kieran Culkin, Connor Long, Bridget Brown, Danny DeVito, Sharon Washington, Ellen Burstyn, Zosia Mamet, Michael James Shaw

A portmanteau of stories connected by the titular animal, Wiener-Dog is the kind of quirky, off-kilter indie movie that attracts audiences attuned to quirky, off-kilter indie movies. That’s to say there’s a certain audience out there for it, and it’s a movie that does its best to be quirky and off-kilter, but as with most portmanteau movies – indie-based or otherwise – some stories work and others don’t. And this won’t help it reach a wider audience. Making a quirky, off-kilter indie movie isn’t a bad idea, but in order for it to avoid being stuck in a niche market, it really needs to be thought through in better fashion than writer/director Todd Solondz has done here.

We first meet wiener-dog as he’s taken to a shelter. Why he’s taken there we never find out – it probably doesn’t matter, but if it does, Solondz isn’t looking to give the viewer any clues – but it’s not long before he’s given a home by Danny (Letts) as a surprise gift for his young son, Remi (Cooke). Remi’s mother, Dina (Delpy), isn’t too happy though about having a dog in the house, and she’s keen to make it clear that the dog is Remi’s responsibility alone. Remi has recently survived a brush with cancer, and is only too happy to have a dog to look after. But an unfortunate occurrence involving the dog and a granola bar leads to wiener-dog being taken back to the shelter.

Ear-marked to be put down, wiener-dog is saved at the last minute by veterinary nurse, Dawn (Gerwig). She takes the dog home with her and christens her Doody. At a local store she runs into Brandon (Culkin), who she knew in high school. He’s going on a trip to visit his brother, Tommy (Long) and his wife, April (Brown), and he invites Dawn along. With nothing better to do, she accepts. When they get to Tommy’s house, Dawn learns that he and April both have Downs Syndrome. When it’s time to leave, Dawn makes a gift of Doody to the couple.

We next see Doody with screenwriting professor Dave Schmerz (DeVito). Dave is trying to get his own screenplay produced, but his agent hasn’t even read it, and Dave is getting more and more depressed about it as a result. He’s lost his enthusiasm for teaching, and in turn has lost the respect of his students. Even when he’s assigned a new agent who tells him she may have a deal with Dreamworks set up for him, Dave’s newfound happiness is undermined by news that his students have complained about him. Angry and upset by this, Dave assembles a bomb, attaches it to Doody, and sends her into the college where he works.

Our final encounter with the dog is when she’s owned by Nana (Burstyn) and is called Cancer. Nana lives with her caregiver and appears miserable and grumpy. She receives a visit from her granddaughter, Zoe (Mamet), and her current boyfriend, Fantasy (Shaw), a performance artist she thinks is cheating on her. The visit is cut short before Nana can give any practical advice, and afterwards she has goes outside and has a dream where younger versions of herself endlessly repeat how better her life would have been if she’d been nicer to people, less critical of them etc.

There’s one last scene involving wiener-dog in animatronic form, but that’s basically it, a collection of four stories where the dog is largely coincidental to the tales being told, and the characters – as per Solondz’ usual penchant – are disillusioned, emotionally stunted, socially awkward lost souls who are unable to connect to others on any meaningful level. Now, there’s aways room for this kind of movie making, and in the past Solondz has been an accomplished purveyor of tales about such people. He’s pretty much built his career on the back of them, and Happiness (1998) is a superb example of what he can do when the muse takes him. But Wiener-Dog is neither as sharp as that movie, or as engaging. There’s Solondz’ trademark waspish humour, but unfortunately, it’s also not as acute as it needs to be.

The first tale is possibly the most satisfactory, with Remi’s persistent questioning of his mother leading to some of the most inappropriate parenting seen on screen for a while. Dina doesn’t do much to reassure Remi; instead she offers worst-case scenarios and semi-pious examples of times went horribly wrong for want of the right thing being done. It’s reassurance by scare tactics, and while Solondz is aiming for very black humour in these moments, the awfulness of Dina’s approach is just that: awful. Delpy is a superb actress, and she handles the dialogue well, but even she can’t find the fine line that stops emotional support from becoming emotional abuse.

The story involving Dawn and Brandon – characters reunited from Welcome to the Dollhouse (1995) – runs out of ideas very quickly, and Solondz doesn’t have anything to offer in terms of the characters or their lives, other than that Dawn and Brandon both exist in the kind of emotional bubbles that are difficult for others to break through, and partly because the two of them aren’t especially aware that that’s the kind of lives they lead. Dave’s tale is flat and uninvolving, a tired story about a tired man that you don’t spend enough time with to really care about. DeVito is often a better dramatic actor than he’s given credit for, but here he just doesn’t have the material to work with. But spare a thought for Burstyn, who has even less to work with, and who is left to yield the floor to Mamet and her character’s own worries. The focus isn’t on Nana enough for the dream visitations of her younger self to have any relevance, and once they occur her tale is effectively over, leaving the viewer to wonder why the story was included in the first place.

The cast do their best, but Solondz maintains a dreary, desultory tone throughout, aiming perhaps for slice of life tales that are meant to be affecting and saying something about modern day ennui, but instead, giving the viewer brief character sketches that say little beyond the obvious, and which lack the necessary depth to make these characters sympathetic or intriguing. It’s hard to care about any of them, and in the end, Solondz reveals just how little he cares about them, or the dog, as he pulls the rug out from under the audience with a scene that’s so gratuitous and unnecessary that you feel like slapping him in the face for being so arbitrary and cruel.

Rating: 4/10 – with past glories fading away with every passing minute, Wiener-Dog is not the movie to sound hurrahs for Solondz’ return to movie making after five years away; as it squanders every opportunity to be interesting or appealing, the movie gets bogged down by its attempts to say something about the lives of the disconnected, and in doing so – and with an irony that only highlights Solondz’ clumsy approach to his own material – keeps its characters at a safe distance from the audience as well.

No Way Jose (2015)

09 Thursday Jul 2015

Posted by dullwood68 in Movies

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Adam Goldberg, Ahna O'Reilly, Anna Belknap, Children's parties, Comedy, Drama, Eric Siegel, Gillian Jacobs, Indie movie, Mexico, Musician, Pat Healy, Relationships, Review, Romance, The Borges

D: Adam Goldberg / 98m

Cast: Adam Goldberg, Ahna O’Reilly, Eric Siegel, Anna Belknap, Pat Healy, Greg Pritikin, Gillian Jacobs, Emily Osment, Brendan Hines

Musician Jose Stern (Goldberg) is fast approaching forty and is reduced to playing children’s parties with his band, the Borges. He’s also engaged to Dusty (O’Reilly), and though they haven’t set a date, they have decided on where to go for their honeymoon: Mexico (as you can’t drive to Hawaii). When best friends Gabe and Kate (Siegel, Belknap) suggest that they hold a joint birthday party for Jose and their young daughter Violet, Jose is initially ambivalent, but thanks to Dusty’s urging, agrees to the idea. Later that night in their new apartment, Dusty downloads an app to her phone that brings to light something about Jose that she doesn’t know. For Dusty it proves to be a deal breaker, despite Jose’s explanation of what she’s learnt.

Their relationship over, Jose crashes on Gabe and Kate’s couch. Kate goes out to work while Gabe stays at home to look after Violet and their infant son, Fred, and provide piano lessons to children. They row a lot, but in-between times, Jose manages to get them to give their opinions on what to do next. Their answer (based on having two impressionable children in the home): frog Dusty and move on. But Jose can’t quite do that, even though he won’t contact her. Instead he hooks up with an old girlfriend, Penny (Jacobs), when she calls him out of the blue, but the evening they spend together proves disappointing.

With his friends, Lawrence (Healy) and Mickey (Pritikin), Jose begins to put Dusty behind him (though he still feels strongly about her). When he learns that Dusty has decided to cash in their honeymoon tickets and go by herself, Jose – who doesn’t fly – follows her there in a last ditch effort to win her back. But when he gets there, he gets a surprise, one that’s exacerbated by Dusty telling him something unexpected…

Adam Goldberg’s fourth directorial feature since 1998 (the last one, I Love Your Work, was released in 2003), No Way Jose is an acerbic, drily witty look at the pitfalls of modern relationships. Co-written with Sarah Kate Levy, Goldberg’s take on the middle-aged man-child coming to terms with commitment has a couple of comedic set pieces – Jose struggling to talk to Dusty while strung out on Ativan; Kate coming home and yelling coarsely at someone on the phone – but is mostly a sedate, considered drama that features some great performances while never quite saying anything too profound about the differences between men and women.

From the outset it’s clear that Jose is out of his depth, somehow having reached the age of forty without getting married or having children. His musical career is in the doldrums, and while his relationship with Dusty seems like a dream come true (you know she’s far too good for him), his cavalier attitude and need for approbation marks him out as an outsider, jogging along but without much purpose or direction. Faced with having to grow up and find some meaning in his life, Jose’s reaction is to cling even tighter to his sense of freedom, even though losing Dusty has made him begin (without realising) to reassess what he wants from Life.

Goldberg is a quirky, unpredictable actor, but here he tones down his usual schtick to give us a character who’s more unsure than confident, and who’s only a few steps away from being a complete loser. As such it’s hard to sympathise with him completely as a lot of his problems are caused by a lack of consideration of others; he’s his own worst enemy. By making Jose so insecure, and with so little ambition, Goldberg has painted himself into a bit of a corner. It doesn’t take long to realise that Jose’s coasting along is robbing the movie of a good deal of drama, and with that realisation, most viewers may find themselves less interested in how things play out. It doesn’t help either that Dusty is sidelined once their relationship is over, and disappears until the movie’s end, when she’s required to respond to Jose’s lovelorn melancholy in a way that will be familiar to anyone who’s seen more than a few romantic dramas.

With Jose being less than completely interesting, it falls to the supporting cast to provide most of the entertainment. It’s here that Goldberg and Levy have done the movie a favour, investing the supporting characters with enough humorous foibles to offset the moodiness of the central storyline. Siegel and Belknap are terrific as a warring couple continually trying to score points off each other and offloading their parental responsibilities on each other at every opportunity (the phrase “Violet’s done a bad thing” will linger in the memory). Healy and Pritikin also provide sterling performances, their characters’ idiosyncrasies played to the fore and fully recognisable as the kind of friends most of us have despite our best wishes or intentions.

On the distaff side, O’Reilly is a pleasure to watch as Jose’s engaging other half, and she makes enough of an impact that her enforced departure from the story feels calamitous. As the “coconut water” drinking Penny, Jacobs soon turns into the ex we’d all like to forget, but instead of enhancing the drama by having Jose sleep with her (or just be seen with her by Dusty), Goldberg elects to have Jose refuse her overtures and not go through with anything, reaffirming his inability to take chances.

Where Goldberg does get things right is in his choice of music to support the emotional beats within the movie – the songs that play in Jose’s car shortly after Dusty dumps him, including One Is the Loneliest Number, are inspired – and his choice of cinematographer, Mark Putnam, his go-to guy when making features. Putnam is great at coming up with shots that provide maximum effect, and guided by Goldberg, keeps things continually interesting within the frame. It all serves to make the visual aspect of the movie more compelling than expected.

Rating: 7/10 – flawed but still mostly enjoyable, No Way Jose is an indie drama with comedic overtones that tells its simple story without much embellishment or pretentiousness; alas this makes for a movie that feels somewhat underdeveloped, and while there are good performances throughout, there’s too little of substance going on to improve things.

Monthly Roundup – June 2015

30 Tuesday Jun 2015

Posted by dullwood68 in Movies

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Action, Animation, Beyond the Reach, Black Samurai, Blood, Brian Cox, Bulldog Drummond Comes Back, Bulldog Drummond in Africa, Children of the Corn: Genesis, Chris Evans, Chyler Leigh, Crazy Sexy Cancer, Crime, Curse of the Witching Tree, Daphne, Documentary, Dolph Lundgren, Drama, Drunk Wedding, E.E. Clive, Echelon Conspiracy, Ed Burns, Espionage, Every Secret Thing, Faults, Forrest Tucker, Fred, Gambling, Green Dragon, Gunsmoke in Tucson, Horror, Human trafficking, Imogen Poots, Indie movie, Jennifer Aniston, Jeremy Irvine, John Barrymore, John Howard, Kris Carr, Leland Orser, Leticia Dolera, Louis King, Mark Stevens, Martin Sheen, Mary Elizabeth Winstead, Michael Douglas, Miguel Ferrer, Mojave Desert, Movies, Murder, Noboru Iguchi, Not Another Teen Movie, Owen Wilson, Pamela Springsteen, Paul Bethany, Peter Bogdanovich, Prague, Predator: Dark Ages, Reviews, Rhys Ifans, Riley Stearns, Scooby-Doo! and the Samurai Sword, Serial killer, Shaggy, Shane West, She's Funny That Way, Skin Trade, Sleepaway Camp 2: Unhappy Campers, Thailand, The Four-Faced Liar, The Night Flier, The Posthuman Project, The Reconstruction of William Zero, Thriller, Tony Jaa, uwantme2killhim?, Vampire, Velma, Ving Rhames, Witch's curse, Zombie Ass: The Toilet of the Dead, Zombies, [Rec]³ Génesis

This month, the roundup is bigger than usual thanks to spending three weeks in sunny France, in an area where the Internet was an occasional luxury rather than a constant presence. But in between drinking copious amounts of beer and wine, and sampling far too much cheese and local bread, there was quite a bit of movie watching going on. These are the movies I watched in a gite in the middle of the gorgeous Brittany countryside, almost all of them a reminder that when life is this good you can forgive quite a bit…

The Posthuman Project (2014) / D: Kyle Roberts / 93m

Cast: Kyle Whalen, Collin Place, Josh Bonzie, Lindsay Sawyer, Alexandra Harris, Jason Leyva, Rett Terrell, Will Schwab

Rating: 5/10 – a group of teens develop super powers thanks to a device created by the dastardly uncle of one of them, and must thwart his plan to use it for immoral profit; pretty much a low-budget, amateur version of The Fantastic Four, The Posthuman Project relies on its not inconsiderable charm to help the viewer get past its rough edges, but the acting and the dialogue leave an awful lot to be desired, sometimes too much so.

Predator: Dark Ages (2015) / D: James Bushe / 27m

Cast: Adrian Bouchet, Amed Hashimi, Sabine Crossen, Ben Loyd-Holmes, Jon Campling, Joe Egan, Philip Lane, Bryan Hands

Rating: 7/10 – a group of mercenaries led by Thomas (Bouchard) set off to hunt the mysterious creature killing people and animals in a nearby forest – and find something even more deadly than they expected; a fan-made short that adds a novel twist to the Predator saga, Predator: Dark Ages is a welcome distraction that confirms that, sometimes, the big studios don’t always have the right idea when it comes to their franchise characters.

Drunk Wedding (2015) / D: Nick Weiss / 81m

Cast: Christian Cooke, Victoria Gold, Dan Gill, Anne Gregory, J.R. Ramirez, Nick P. Ross, Genevieve Jones, Diana Newton

Rating: 4/10 – when a couple decide to get married in Nicaragua, they and some of their friends are given hand-held cameras to film it all… with predictably awful, drunken, outrageous, and potentially life-altering effects; if your idea of comedy is seeing someone urinating on another person’s back, then Drunk Wedding is the movie for you, and despite its lowbrow modern day National Lampoon-style approach it still manages to hold the attention and is surprisingly enjoyable – if you don’t expect too much.

Zombie Ass: The Toilet of the Dead (2011) / D: Noboru Iguchi / 85m

Original title: Zonbi asu

Cast: Arisa Nakamura, Mayu Sugano, Asana Mamoru, Yûki, Danny, Kentaro Kishi, Demo Tanaka

Rating: 5/10 – while on a trip to the woods, Megumi (Nakamura) and four older friends find themselves under attack from zombies who have emerged from the bowels of an outhouse – and only her martial arts skills can save them; a wild, wild ride from one of the masters of Japanese Shock Cinema, Zombie Ass: The Toilet of the Dead is equal parts raw, uncompromising, witless, and gross, but it’s also a movie that just can’t be taken at all seriously, and on that level it succeeds tremendously, providing enough WtF? moments to make it all worthwhile.

Faults (2014) / D: Riley Stearns / 89m

Cast: Leland Orser, Mary Elizabeth Winstead, Chris Ellis, Beth Grant, Jon Gries, Lance Reddick

Rating: 8/10 – down on his luck cult expert Ansel (Orser) sees a way out of debt and a chance to regain some self-respect when a couple (Ellis, Grant) ask him to abduct and de-programme their daughter (Winstead), but he soon finds himself out of his depth and facing up to some hard truths; a tour-de-force from the always excellent Orser – and with a solid supporting performance from Winstead – Faults is an unnerving look at a man on the verge of a nervous breakdown, and the ways in which his broken life have led him to a motel room where his own personal beliefs come under as much scrutiny as his captive’s.

She’s Funny That Way (2014) / D: Peter Bogdanovich / 93m

Cast: Imogen Poots, Owen Wilson, Rhys Ifans, Jennifer Aniston, Will Forte, Kathryn Hahn, Illeana Douglas, Debi Mazar, Cybill Shepherd, Richard Lewis, Ahna O’Reilly, Joanna Lumley

Rating: 6/10 – theatre director Arnold Albertson has a secret: he gives prostitutes money in order that they can set up their own businesses, but when his latest “project”, aspiring actress Isabella Patterson (Poots) lands the starring role in his latest production, it all leads to the kind of deception and duplicity that will test the notion that the show must go on; a modern attempt at a screwball comedy, She’s Funny That Way doesn’t have the sheer energy that made movies such as His Girl Friday (1940) or Bringing Up Baby (1938) so enjoyable, but Bogdanovich knows his stuff and keeps the movie entertaining for the most part, even if it doesn’t stay in the memory for too long afterwards.

Curse of the Witching Tree (2015) / D: James Crow / 102m

Cast: Sarah Rose Denton, Lucy Clarvis, Lawrence Weller, Jon Campling, Caroline Boulton, Danielle Bux

Rating: 2/10 – divorcée Amber Thorson (Denton) moves into an old house with her two children (Clarvis, Weller) only for strange phenomena to start happening that’s connected to a witch’s curse, and which leaves them all at risk of supernatural forces; woeful in the extreme, Curse of the Witching Tree is amateurish nonsense that is badly directed, poorly acted, contains defiantly stilted dialogue, suffers from below-par photography, is tension-free throughout, and stands as an object lesson in how not to make a low-budget British horror movie.

Bulldog Drummond Comes Back (1937) / D: Louis King / 64m

Cast: John Barrymore, John Howard, Louise Campbell, Reginald Denny, E.E. Clive, J. Carrol Naish, Helen Freeman

Rating: 5/10 – when dastardly villains Mikhail Valdin (Naish) and Irena Saldanis (Freeman) kidnap Phyllis Clavering (Campbell), the girlfriend of Captain Hugh Drummond (Howard), they send him on a merry chase where each clue he finds leads to another clue as to her whereabouts – but no nearer to finding her; the first of seven movies with Howard as the dashing sleuth created by H.C. “Sapper” McNeile, Bulldog Drummond Comes Back is as cheap and cheerful and antiquatedly entertaining as you might expect, and benefits enormously from a cast and crew who know exactly what they’re doing.

Every Secret Thing (2014) / D: Amy Berg / 93m

Cast: Diane Lane, Elizabeth Banks, Dakota Fanning, Danielle Macdonald, Nate Parker, Common

Rating: 7/10 – several years after two young girls are incarcerated for the murder of a younger child, their return to their hometown is marred by the disappearance of a little girl, and the belief that one or both of them is responsible; a stilted attempt at an indie film noir, Every Secret Thing features good performances – particularly from Macdonald – and focuses on the emotional effects a child abduction can have on everyone involved, but it never develops a sense of urgency, though its key revelation at the end carries a wallop that helps dismiss what will seem like a narrative impasse up until then.

Children of the Corn: Genesis (2011) / D: Joel Soisson / 80m

Cast: Kelen Coleman, Tim Rock, Billy Drago, Barbara Nedeljakova

Rating: 3/10 – a couple (Coleman, Rock) break down on a desert highway but manage to find shelter overnight with a old preacher (Drago) and his much younger, foreign bride (Nedeljakova), but soon find that what’s in the preacher’s barn is much more menacing than the old man himself; placing the action largely away from Gatlin, Nebraska may have seemed like a smart move but this tired, dreary, and just downright dull entry in the franchise shows just how bad things have gotten since the 1984 original, and just why Children of the Corn: Genesis should remain the last in the series to be made.

Skin Trade (2014) / D: Ekachai Uekrongtham / 96m

aka Battle Heat

Cast: Dolph Lundgren, Tony Jaa, Michael Jai White, Ron Perlman, Celina Jade, Peter Weller

Rating: 6/10 – when cop Nick Cassidy (Lundgren) is powerless to stop his wife and daughter being killed, he determines to go after the crime boss responsible, Viktor (Perlman), and destroy his human trafficking network, which means travelling to Thailand and teaming up with detective Tony Vitayakul (Jaa), who’s also out to put a stop to Viktor’s illegal behaviour; with its human trafficking backdrop giving it an unexpected depth, Skin Trade is not just a brainless, slam-bang action movie, but instead a very well-made (for its budget) revenge flick that features some great fight scenes – particularly one between Lundgren and Jaa – and uses its Thai locations to very good effect.

The Reconstruction of William Zero (2014) / D: Dan Bush / 98m

Cast: Conal Byrne, Amy Seimetz, Scott Poythress, Lake Roberts, Melissa McBride, Tim Habeger

Rating: 6/10 – when the brother (Byrne) of a scientist (also Byrne) wakes from a coma, it’s not long before he begins to suspect that this identity may not be that of the scientist’s brother, and that he’s a pawn in a much bigger conspiracy, but the truth proves even stranger and more disturbing than he realised; a spare, almost antiseptic movie about notions of identity and individual consciousness, The Reconstruction of William Zero features terrific performances from Byrne, but lacks consistency of pace and sometimes feels as if Bush has taken his eye off the ball and taken a while to find it again, which leaves the movie often feeling flat and lifeless.

Not Another Teen Movie (2001) / D: Joel Gallen / 89m

aka Sex Academy

Cast: Chyler Leigh, Chris Evans, Jaime Pressly, Eric Christian Olsen, Randy Quaid, Mia Kirshner, Deon Richmond, Ed Lauter, Paul Gleason, Mr T, Molly Ringwald

Rating: 5/10 – at John Hughes High School, popular jock Jake Wyler (Evans) accepts a bet that he can’t take an ugly girl and transform her into the prom queen, but when he picks out Janey Briggs (Leigh), and begins to spend time with her, it makes him begin to question whether he should have made the bet in the first place; a predictably irreverent teen movie that parodies all those dreadful teen comedies from the Eighties, Not Another Teen Movie has more heart than most, and thanks to Mike Bender’s script contributions, is also quite funny in its knowing way, and gives viewers a chance to see the future Captain America back in the day when his skill as an actor wasn’t quite as honed as it is now.

Bloomington (2010) / D: Fernanda Cardoso / 83m

Cast: Allison McAtee, Sarah Stouffer, Katherine Ann McGregor, Ray Zupp, J. Blakemore, Erika Heidewald

Rating: 7/10 – former child actress Jackie (Stouffer) attends Bloomington college, and finds herself having an affair with one of the professors, Catherine (McAtee), until the offer of a comeback threatens to end their relationship before it’s fully begun; an intelligent, finely crafted romantic drama, Bloomington has two great central performances, and an emotional honesty that is only undermined by the clichéd nature of Jackie’s need to return to acting, and Cardoso’s over-reliance on silent longing as a sign of emotional upheaval.

Sleepaway Camp 2: Unhappy Campers (1988) / D: Michael A. Simpson / 80m

Cast: Pamela Springsteen, Renée Estevez, Tony Higgins, Valerie Hartman, Brian Patrick Clarke, Walter Gotell

Rating: 5/10 – Angela Baker (Springsteen), having decimated most of the staff and children at Camp Arawak, and now judged to be safe around others, begins sending unruly teenagers “home” from Camp Rolling Hills – which in reality means killing them for any and all perceived infractions that Angela takes a dislike to; a much better sequel than expected, Sleepaway Camp 2: Unhappy Campers gets by on Springsteen’s preppy performance, some not-too-gory deaths, and Simpson’s confident touch behind the camera, as well as that dreadful musical interlude: The Happy Camper Song.

Gunsmoke in Tucson (1958) / D: Thomas Carr / 80m

Cast: Mark Stevens, Forrest Tucker, Gale Robbins, Vaughn Taylor, John Ward, Kevin Hagen, William Henry, Richard Reeves, John Cliff, Gail Kobe

Rating: 6/10 – brothers Jedediah (Stevens) and John (Tucker) are on opposite sides of the law, but when Jedediah becomes involved in a land dispute between cattle ranchers and farmers, his sense of right and wrong is put to the test, and he has to choose sides in the upcoming fight for the choicest plot of land; a robust, earnest Western, Gunsmoke in Tucson is a staid, respectable movie that doesn’t stray too far from its basic plot, and skimps on any psychological undertones in favour of a straight ahead anti-hero vs. the bad guys scenario that makes for a pleasant diversion.

Beyond the Reach (2014) / D: Jean-Baptiste Léonetti / 91m

Cast: Michael Douglas, Jeremy Irvine, Ronny Cox, Hanna Mangan Lawrence

Rating: 6/10 – arrogant businessman Madec (Douglas) hires tracker Ben (Irvine) in order to bag some game out of season, but when he shoots and kills an old man by mistake, Madec refuses to accept responsibility for his actions and when Ben stands his ground over the issue, finds himself being hunted instead through the harsh Mojave Desert; an occasionally tense two hander that will do little for either actor’s career, Beyond the Reach ramps up the contrivance levels with each successive narrow escape that Ben makes, and with each missed shot that Madec makes, leading to the inevitable conclusion that this is one movie where credulity needs to be left at the door – an idea that is further enhanced by the movie’s risible conclusion.

Blood (2012) / Nick Murphy / 92m

Cast: Paul Bettany, Mark Strong, Stephen Graham, Brian Cox, Ben Crompton, Naomi Battrick, Zoë Tapper, Adrian Edmondson

Rating: 5/10 – when a young girl is found murdered, the police, led by Joe Fairburn (Bethany) immediately set their sights on local child molester Jason Buleigh (Crompton), but when their prime suspect has to be let go for lack of evidence, Joe and his brother Chrissie (Graham) decide to take the law into their own hands, with terrible results; grim, visually depressing, and with a script that has more holes in it than a string vest, Blood has only its performances to recommend it, particularly those of Bethany, Graham and Cox, as well as the sense to know that its tale of a proud man’s downfall is always more interesting when you don’t know just how far they’ll fall.

Echelon Conspiracy (2009) / D: Greg Marcks / 102m

aka The Conspiracy; The Gift

Cast: Shane West, Ed Burns, Ving Rhames, Martin Sheen, Tamara Feldman, Jonathan Pryce, Sergey Gubanov, Todd Jensen

Rating: 3/10 – computer security tech Max Peterson is given a mysterious phone that helps him gain a small fortune, but in doing so he finds himself embroiled in a plot to ensure that the NSA’s super computer, Echelon, gains the upgrade it needs in order to spy on everyone globally; so bad on so many levels, Echelon Conspiracy wastes its (mostly) talented cast, flirts with credibility before running away from it at high speed, offers laughs in places where they shouldn’t be, and is the cinematic equivalent of a car crash.

Crazy Sexy Cancer (2007) / D: Kris Carr / 90m

With: Kris Carr, Jackie Farry, Melissa Gonzalez, Brian Fassett, Aura Carr, Kenneth Carr, Leslie Carr, Oni Faida Lampley, Bhavagan Das

Rating: 7/10 – when aspiring actress Kris Carr was diagnosed with cancer, she decided to make a visual record of the process of dealing with it, and the various ways in which other cancer sufferers have done so, and supported by the cameraman/editor who became her husband, as well as family and friends; an uplifting, positive message for anyone dealing with cancer, or who knows someone who is, Crazy Sexy Cancer is the kind of documentary that doesn’t attempt to overdo the physical and emotional strain of being in such a situation, but which does nevertheless offer plenty of poignant moments in amongst the hospital visits, and shows Carr to be a determined, aggressive would-be survivor.

The Night Flier (1997) / D: Mark Pavia / 94m

Cast: Miguel Ferrer, Julie Entwisle, Dan Monahan, Michael H. Moss, John Bennes, Beverly Skinner, Rob Wilds, Richard K. Olsen, Elizabeth McCormick

Rating: 7/10 – hard-nosed, disreputable reporter Richard Dees investigates a series of murders carried out at small airstrips that appear to be the work of a vampire, but his initial scepticism gives way to reluctant belief as he talks to witnesses, and sees the injuries the victims have sustained; a well-crafted movie that betrays its low budget and scrappy production design, The Night Flier is still one of the better Stephen King adaptations thanks to Pavia’s confident handling of the material, Ferrer’s see-if-I-care performance, and some impressively nasty effects work courtesy of the KNB Group.

Killer by Nature (2010) / D: Douglas S. Younglove / 90m

Cast: Ron Perlman, Armand Assante, Zachary Ray Sherman, Lin Shaye, Haley Hudson, Richard Riehle, Richard Portnow, Svetlana Efremova, Jason Hildebrandt

Rating: 3/10 – troubled by nightmares of murder and sleepwalking, teen Owen (Sherman) undergoes therapy with Dr Julian (Perlman), a therapist who believes that a person’s essential nature is handed down through bloodlines – a theory originated by convicted murderer Eugene Branch (Assante), and who is connected to Owen in a way that causes Owen to believe he might be the perpetrator of a series of murders that mimic Branch’s modus operandi; a thriller that can’t decide if it’s tepid or overwrought, and then settles for both (sometimes in the same scene), Killer by Nature is a humdinger of a bad movie, and proof positive that sometimes the old saying that “if you can, it doesn’t mean you should” relates to far too many movies for comfort – especially this farrago of awful performances, pseudo-intellectual posturing, and deathless direction.

Scooby-Doo! and the Samurai Sword (2009) / D: Christopher Berkeley / 75m

Cast: Frank Welker, Casey Kasem, Mindy Cohn, Grey DeLisle, Kelly Hu, Kevin Michael Richardson, Sab Shimono, Keone Young, Gedde Watanabe, George Takei, Brian Cox

Rating: 6/10 – on a trip to Japan, Scooby-Doo and the gang become involved in the search for a mystical sword, while trying to thwart the efforts of the ghost of the Black Samurai to beat them to it; a middling entry in the series that at least provides a different backdrop than the standard old dark house (or mine, or hotel, or funfair…), and which allows Shaggy and Scooby to be the heroes we all know they really are deep down, while displaying a pleasing awareness of Japanese culture.

[Rec]³ Génesis (2012) / D: Paco Plaza / 80m

Cast: Leticia Dolera, Diego Martín, Ismael Martínez, Àlex Monner, Sr. B, Emilio Mencheta, David Ramírez, Miguel Ángel González

Rating: 7/10 – a young couple’s wedding day is disrupted for good when one of the guests takes a bite out of another one, leading to a frenzied free-for-all among the guests and a fight for survival for those not affected by whatever’s causing people to become zombies – including the bride and groom, who have become separated in the mêlée; half found footage, half professionally filmed, [Rec]³ Génesis acts as a prequel to the events of the first two movies but is let down by both the change in location, and the absence of Claudia Silva, as well as a sense that by going backwards in terms of the outbreak and its possible cause, the makers are treading water until an idea as to how to carry the story forward from [Rec]2 (2009) comes along.

uwantme2killhim? (2013) / D: Andrew Douglas / 92m

Cast: Jamie Blackley, Toby Regbo, Joanne Froggatt, Jaime Winstone, Liz White, Mark Womack, Louise Delamere, Stephanie Leonidas, Mingus Johnston

Rating: 7/10 – popular schoolboy Mark (Blackley) leads a secret life on the Internet, where he invests his time and emotions in relationships with people he’s never met, but when of those people ask him to stop their younger brother, John (Regbo), from being bullied, what follows sets Mark on a dangerous path to murder; based on a true story, and told with a glum sense of foreboding throughout, uwantme2killhim? is an engrossing (though slightly frustrating) recounting of one of the strangest cases of the last fifteen years, and features two very good performances from Blackley and Regbo, though they have to fight against a script that favours repetition over clarity, but which still manages to flesh out what must have been a very strange relationship between the two boys.

Bulldog Drummond in Africa (1938) / D: Louis King / 58m

Cast: John Howard, Heather Angel, H.B. Warner, J. Carrol Naish, Reginald Denny, E.E. Clive, Anthony Quinn

Rating: 7/10 – on the very day that Drummond (Howard) is finally due to marry his long-suffering girlfriend Phyllis (Angel) he becomes embroiled in the kidnapping of his old friend Colonel Nielsen (Warner), and finds himself travelling to Morocco – with Phyllis, butler Tenny (Clive) and old pal Algy (Denny) in tow – in order to rescue him; the fourth in the series is perhaps the funniest, with Howard allowed to spread his comedic wings, and even the villain (played again by Naish) given some splendidly dry remarks to make in amongst the threats of death by hungry lion, and a bomb on Drummond’s plane.

The Four-Faced Liar (2010) / D: Jacob Chase / 87m

Cast: Daniel Carlisle, Todd Kubrak, Emily Peck, Marja-Lewis Ryan, Liz Osborn

Rating: 8/10 – five friends – couples Greg (Carlisle) and Molly (Peck), Trip (Kubrak) and Chloe (Osborn), and single lesbian Bridget (Ryan) – experience various ups and downs in their relationships, especially when Trip has a one night stand, and Molly finds herself attracted to Bridget; a refreshingly honest look at what relationships mean to different individuals, and how they affect the people around them, The Four-Faced Liar is an effective, well-written drama that benefits from good performances all round, a soundtrack that supports the mood throughout, and Chase’s confident approach to Ryan’s script.

Molly Maxwell (2013)

11 Sunday May 2014

Posted by dullwood68 in Movies

≈ 1 Comment

Tags

Charlie Carrick, Growing pains, Indie movie, Krista Bridges, Lola Tash, Phoenix Progressive School, Photography, Review, Romantic drama, Sara St. Onge, Student/teacher relationship

D: Sara St. Onge / 90m

Cast: Lola Tash, Charlie Carrick, Krista Bridges, Rob Stewart, Richard Clarkin, Brooke Palsson, A.K. Shand, Nicholas Bode

Sixteen year old Molly Maxwell (the wonderfully named Tash) is a pupil at Phoenix Progressive School, where creative self-expression is encouraged amongst the pupils and where being ordinary (or settling for it) is not only discouraged, but viewed as abnormal. Molly has a genius IQ but doesn’t want to be singled out or regarded as special. When the head teacher, Raymond (Clarkin), pushes Molly to choose her ‘elect’ subject, she finds herself being guided towards photography by her handsome English teacher, Ben Carter (Carrick). Surprised by his interest in her, Molly insists that Ben be her supervisor on the ‘elect’ subject. Ben is initially hesitant but eventually agrees. As they work ever more closely together, Molly and Ben become increasingly intimate (though Ben resists the temptation to make it a physical relationship).

As the relationship develops, Molly finds herself lying to her friends Caitlin (Palsson) and Gala (Shand), and her parents, Marilyn (Bridges) and Evan (Stewart). She invents a boyfriend called Spencer who goes to another school to explain the time she spends with Ben, including a field trip that wouldn’t have been sanctioned by the school. Molly’s attitude becomes more confrontational, while her behaviour around Ben when they’re in school begins to attract the attention of Raymond. Things come to a head when the photos she took on the unofficial field trip are discovered at the school, and the seriousness of the situation – and its potential consequences – is brought to light.

There’s a moment in Molly Maxwell where Molly is outside Ben’s apartment. She has a gift for him, a framed photograph she knows he’ll like. In turn he has something for her, some books on photography. Molly flicks through one of them and shows no sign of moving from Ben’s doorstep. It’s an awkward moment, both for the characters and the audience, but it’s indicative of the problems the movie has in trying to approach its subject matter: forbidden love between a student and her teacher. Molly Maxwell is an indie movie through and through, with an indie movie’s sensibility, and it wants to be different in the way that all indie movies want to be different: it wants to be “about something”. (This might seem like an obvious thing to point out, but there are plenty of indie movies out there that strive to be different but come off as aloof or detached, with characters that operate in an emotional vacuum, apart from anything even remotely resembling reality.)

The “something” Molly Maxwell wants to be about is ostensibly growing pains, but there’s a deeper message hidden in the movie, and it’s not until Molly and Ben’s relationship is outed that it becomes clear. Arising from the ashes of the relationship’s predictable demise is the reaffirmation of Molly’s relationship with her mother, a once solid connection that seems irreparably damaged by Molly’s love for Ben and the strain it places on the family structure. Marilyn is a wonderfully complex creation, outwardly controlling in an overbearing, condescending way that most children would find hard to deal with anyway. But Molly rebels against her mother when she receives real support from Ben, and as she becomes more and more infatuated with her teacher, so her disillusionment with her mother increases. Marilyn clearly wants the best for Molly but has a tough time showing it appropriately. In their efforts to be understood, both Molly and Marilyn end up pushing each other away.

It’s this secondary storyline – and its resolution – that ultimately has the most impact, and while Molly’s burgeoning love affair with Ben takes up most of the screen time, it’s predictable nature isn’t as appealing in the long run. Molly’s naiveté gets in the way of making her attraction for Ben believable, while Ben’s motivation for pursuing the romance is murky at best, leaving the audience to wonder what exactly has brought them together. That said, Tash and Carrick deliver good performances despite the flaws in first-time director St. Onge’s script, and there is a definite chemistry between them that bolsters their scenes together. Tash is a good casting choice as Molly, and has a maturity that adds immeasurably to her reading of the character, while her scenes with Bridges are exhilarating for the depth that each actress brings.

Further on the plus side, St. Onge shows a keen eye for the absurdities of such a privileged milieu, while there’s a terrific indie soundtrack (keep an ear out for the perfect placement of Audrey & The Agents’ Hate Fuck). For a first feature it’s a decent enough attempt, and if some of the drama veers perilously close to highlighting its soap opera similarities, then St. Onge’s lack of experience can be excused thanks to the movie’s overall quality.

Rating: 7/10 – an absorbing (though emotionally redundant in places) debut feature that features good performances in support of a not quite fully realised script; at times charming, Molly Maxwell works best when looking at the small tragedies that can beset a mother/daughter relationship.

Concussion (2013)

08 Friday Nov 2013

Posted by dullwood68 in Movies

≈ 1 Comment

Tags

Drama, Female sexuality, Indie movie, Julie Fain Lawrence, Lesbian, Prostitution, Relationships, Review, Robin Weigert, Sexual identity, Stacie Passon

D: Stacie Passon / 96m

Cast: Robin Weigert, Julie Fain Lawrence, Johnathan Tchaikovsky, Maggie Siff, Janel Moloney, Emily Kinney, Laila Robins

A hit at both this year’s Sundance and Berlin Film Festivals, Concussion is a drama that looks at lesbian desire from the perspective of Abby (Weigert), 42 years old, in a loving yet loveless relationship with Kate (Lawrence), and who, following a severe concussion, finds a way to regain the sexual passion her life is missing.

Abby and Kate have a son and daughter who are both under ten, a group of close friends they socialise often with, a busy home life, and jobs that require a lot of time and effort from both of them: Kate is a lawyer, while Abby buys, renovates and sells vacant properties. Following her concussion, Abby finds an apartment that she wants to work on with her friend Justin (Tchaikovksy). With her sexual identity becoming stifled by Kate’s inattention, Abby visits a prostitute. The experience is a liberating one but she is unsure if she should pursue things further. She confides in Justin who tells her he knows someone who might be able to help her: his current girlfriend (Kinney) (known only as The Girl). And so, while Kate remains completely unaware, Abby embarks on a personal odyssey as a prostitute, using the apartment as the place for her appointments.

While Concussion is a thought-provoking movie that provides viewers with a well-rounded, intelligent portrait of a middle-aged woman dealing with a personal crisis, it’s also occasionally glib and paints a rather depressing portrait of middle-class suburban lives where wives play games such as “You Should”, and in this milieu at least, the men are only occasionally referred to or seen. This bitter backdrop helps highlight the difficulty Abby has in connecting with Kate: they don’t really communicate with each other. Even when Abby is spending far longer than usual at the apartment, Kate doesn’t suspect anything may be untoward; and equally, Abby carries on as if the two worlds she now inhabits will never overlap. At the movie’s start, Kate is the only one who is indifferent; now it’s Abby too.

Abby’s journey of rediscovery is well-handled, her encounters with a variety of women of all ages, shapes and sizes, painted by writer/director Passon with tenderness, wit and compassion. (One small complaint though: why is it only the young, slim clients that are seen semi-naked?) Each client has their story to tell, and Abby forges relationships with all but one of them, seeing them each several times. Over time she learns that very few relationships work out in the way people expect or want them to, and that her relationship with Kate is far from unusual in its dynamic. As for the sex scenes, Passon highlights the passion and desire inherent in each coupling, and Weigert excels in displaying both her physical and emotional needs throughout.

in fact, Weigert is excellent, by turns vulnerable, aggressive, confident, remorseful, anxious, frustrated, sexy and vital. Lawrence has the more subdued role but proves herself entirely capable of fleshing out her character’s vulnerability and emotional reticence. The rest of the cast make equally vital contributions, and there isn’t a false note to be had. Passon has a keen eye for the quirks and foibles of every day suburban life, and her dialogue is fresh and convincing. She’s a fine director, too, with an equally keen eye for composition and how one scene connects to another.

That said, there are plot contrivances – it’s convenient that Justin’s girlfriend is effectively a madam even though she’s in law school and looks like she’s still in her teens – and it’s a shame that we have another movie where the main characters can’t or won’t talk to each other thereby precipitating the movie’s raison d’être. But Concussion works as a compelling drama exploring one woman’s efforts to reclaim her sexual identity, and more pertinently, how a relationship can maintain an equilibrium despite little or no input from both partners. It’s this relatively under-explored aspect of the movie that resonates the most.

Rating: 8/10 – an absorbing tale that takes an honest, often unflinching approach to female sexuality and one woman’s need to redefine her sexual identity; an indie gem from a writer/director whose future projects will be worth looking out for.

Touchy Feely (2013)

30 Wednesday Oct 2013

Posted by dullwood68 in Movies

≈ 2 Comments

Tags

Dentist, Drama, Ellen Page, Indie movie, Josh Pais, Lynn Shelton, Massage therapy, Relationships, Review, Rosemarie DeWitt

D: Lynn Shelton / 88m

Cast: Rosemarie DeWitt, Ellen Page, Josh Pais, Allison Janney, Scoot McNairy, Ron Livingston, Tomo Nakayama

Shelton’s follow-up to Your Sister’s Sister is a disappointment in comparison, focusing on the problems of massage therapist Abby (DeWitt), her brother Paul (Pais) and his daughter Jenny (Page). Abby is afraid to commit to her current boyfriend Jesse (McNairy); her anxiety over this leads to a sudden aversion to skin, and to touching it. Conversely, her dentist brother finds that he may have “healing hands” and begins to explore this further with the help of Abby’s mentor Bronwyn (Janney). While all this is going on, Jenny struggles with her need to help her father at his practice and her desire to move on to college.

From the start this is a movie that lacks focus. The opening scene introduces the main characters, and while we realise that each has their own problem, the banality of those problems stop them from being interesting: Abby’s commitment issues, Paul’s insular view of the world and the people around him, Jenny’s need to seek new horizons, and Jesse’s lack of ambition – we’ve seen these issues a thousand times before. But where we might hope for a new take on all this, and for the movie to take us in directions we haven’t seen before, instead, Shelton’s script takes us on several unrewarding journeys that all end with pat and distinctly underwhelming resolutions. There’s also a major issue with the movie’s timeframe: Paul’s conversion to Reiki therapy obviously takes place over at least a matter of weeks, but in the meantime the other story lines remain held in stasis. When they do resume it’s as if only a day or two has passed.

The cast do well the lacklustre script, Pais in particular, who creates a quiet man-child entirely comfortable with stifling his daughter’s ambitions, while DeWitt and Page cope with roles that are clearly underwritten. Of the supporting cast, McNairy has the thankless role of confused boyfriend, while Livingston pops up in the background of a couple of scenes until he’s wheeled centre stage for a sequence near the end that feels as contrived as it looks.

Shelton directs ably enough but there’s too little drama to really hold the interest throughout. There’s not enough real angst to get your teeth into. The film is also drab to look at, its Seattle setting doing nothing to enhance the mood (though it does match the characters’ unhappiness). That said, DoP Benjamin Kasulke frames each scene well and makes the often static shots more interesting than they have a right to be. The film moves at a deliberately slow pace, and while that’s not necessarily a bad thing, here it just adds to the disappointment at having to spend time with a bunch of humourless malcontents.

Hopefully, Touchy Feely is a blip in Shelton’s directorial career, and her next feature, Laggies, will show a return to form. It’s a good time for female directors and the more we see from them, the better.

Rating: 5/10 – a soggy, undercooked mess of a movie saved by its cast and a just-about-right running time; for Lynn Shelton completists only.

thedullwoodexperiment

~ Viewing movies in a different light

Tag Archives: Indie movie

Maine (2018)

Blindspotting (2018)

Soni (2018)

Columbus (2017)

Nancy (2018)

Skate Kitchen (2018)

Outside In (2017)

Burn Burn Burn (2015)

Everything Beautiful Is Far Away (2017)

The Joke Thief (2018)

I Don’t Feel at Home in This World Anymore. (2017)

Hickey (2016)

Blue Jay (2016)

Wiener-Dog (2016)

No Way Jose (2015)

Monthly Roundup – June 2015

Molly Maxwell (2013)

Concussion (2013)

Touchy Feely (2013)

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