The Choral – Looking Good Yet Fails To Fully Impress This movie tries to be everything to everyone, a rather impossible benchmark to hold. Its production values are good, the settings, cinematography, performers, and the music are all winners – but what good is it if the script and direction are lacking that necessary something? The youthful characters are young people preparing for life in the early years of the 1st WW, with all experiencing a level of sexual frustration and strained relationships. Maybe the balance between an agnostic homosexual writer and a non-believing Jewish homosexual director perhaps left out some vital character connections along the way? The beautiful young black female Salvation Army street singer with the Angelic voice, seems to bear the brunt of the young (and older) men’s advances, yet appears to be very much a super-strong ‘liberated’ woman for the era she inhabits (maybe that was part of the BBCs woke ‘diversity’ units box- ticking that’s somewhat evident throughout today’s product). The older players are well cast and perform their duties convincingly, but a rather overly ‘colorful’ and pompous Elgar appears to be a caricature of his famous ‘Pomp and Circumstance’. This also childishly resembles a form of ‘subtle Empire bashing’. Elgar, we are told, had somewhat of a solitary and introspective personality with low self-esteem due to his humble family background, and even wished his Pomp and Circumstance had been known for much gentler lyrics to the popular nationalistic ones. He was also man devastated by his wife’s death so maybe not well represented within this script. This had the makings **** modern classic but settles instead for a cheaper form of sensationalistic melodrama.
Icelandic director/writer Hlynur Palmason has said he is more interested in the 'style and flow' of films than the actual plotline, and it shows throughout Godland. Here's a movie about a Lutheran priest selected to 'go out into the wilderness and build a church.' One major problem here is the fact that he could not be more unsuited for the task. If the very best the Lutheran church had to represent it was young Lucas (played by Elliott Crosset Hove), then it could be suggested they should have closed their doors years earlier. Poor Lucas has been written as somewhat of a pathetic failure, and simply becomes every bit worse as this rather manipulative plot meanders forward. So, what has attracted many of the rave reviews for this film? Looking subjectively, it might only be that 'style and flow' its creator talks about. A healthy creative pairing with cinematographer Maria von Hausswolff has helped the filmmaker immensely in capturing and creating many moody sequences - all shot in carefully selected settings, with artful attention to the flow of images as they examine their subject’s movements around the environment. This unique style at times almost creates a new language for the work of a successful director of photography (but noting the lack of a D.O.P. credit, suggests the director and photographer may have each called various shots) As would be expected from a film looking back at the early days of settlement for this rugged region, there will be sharp conflicts within the close quarters of the wary and opposing inhabitants. These confrontations are not always presented with an assured hand and seem to be played out more as a means-to-an-end, tending to weaken some resolutions. The end result will cause some to rave, but also leave others less impressed (The most accurate critique --giving a closer examination-- I have seen to date is on the Ebert site).
Belfast – An Indelible Memory Kenneth Branagh’s semi-autobiographical film delivers on several levels. Firstly, as an account of the terrible (and utterly foolish) riots that plagued his childhood hometown, then as an examination of the lengths those trapped in situations they can’t escape or control will go to keep family commitments and support alive. The various memories that live deep within our souls are here, brought to life in a strikingly stylized production – a unique homage to families who sacrificed much to keep each other safe while also garnering some joy among the extreme pressures. It’s a labor of love dedicated to those who endured till they were eventually able to escape the senselessness of a local civil war, fought on superficial hatred, for a better life in Britain. A hand-picked cast works superbly under Branagh’s direction, delivering his astute dialogue with sensitivity, while keeping the musical lilt of the local dialect in perfect harmony. Cypriot-born Director of Photography Haris Zambarloukos supplies the interesting visuals, capturing the highs and lows of a populace in undeserved turmoil. All this is then underscored by Van Morrison’s music of the era. Branagh elicits a marvelous performance from young Jude Hill in his debut role as the young Branagh, turning in a performance filled with special nuances. He must have benefited from working with a cast made in performer’s heaven, surrounded by an assortment of Britain’s finest.
Recommended for lovers of seriously good moviemaking, that doesn’t bite off more than it can chew or outstay its welcome, and has a deeply felt story to tell.
Strangerland – Think Carefully Before Going There. Here we have yet another Australian movie hell bent on proving we fund more movies that don’t make money and are deliberately perverse for the sake of it. From beginning to end, this decrepit movie just sinks further into its own dreary sludge. Kidman must only be after the money, or she would not touch these stinkers, and she shows she will perform any morally low-life action for the right price in the name of ‘art’. Director Kim Ferrant and writer Fiona Seres don’t help, offering guideless, shallow characters stumbling obcenly through a wasteland of cheap melodrama. They present Kidman and Daughter as both sleazy nymphomaniacs, occasionally throwing up weak physiological allusions as to why each may have become such, but not flowing up with vital support for any of them. As it endlessly ambles along, each scene seems to attempt to outdo the crassness of the one that went before. Then, without any intelligent conclusions, this way overstretched mess just sinks further into its own forgettable drearyness – throwing away some reasonable cinematography and performances along its weary way.
Nightfall – Suspense Drama with Noir Flair. Who would have expected a film that runs for under 80mins to have such ‘A grade’ credentials? Nightfall is such a movie. With credits starting with Ted Richmond and Tyrone Power’s Production Company, it then boasts Jacques Tourneur as director (Out of the Past ’49). Then comes the top-flight cast; Aldo Ray, Brian Keith, and a lovely, youthful Anne Bancroft, supported by well-known character players. Now add cinematography by the great Burnett Guffey (All the Kings Men ’49 etc, etc), a screenplay by Stirling Silliphant (Charlie ’69) based on David Goodi’s robust novel. It has the earmarks of a film intended as a main feature that, for some reason, ended up being a support for a double-feature bill - it also keeps the viewer engaged with a series of compelling, tense situations. While there are a couple of strange plot gaps, it flows at such a pace these can be somewhat overlooked. Lovers of fifties noir dramas won’t be too disappointed with this quite rare offering, and Ray does well as the everyman thrown in at the deep end, hiding out for his life.
I delayed seeing this movie for many years because I feared sitting through another of those Hollywood classroom genre clichés. But having reached a stage where I was braced for giving it a chance regardless, it turned out to be better than expected. Yes, the clichés are there. What else can anyone expect from a film about the education of groups of downtrodden mixed races? But, the difference is all in the unfolding of a character building exercise, by above average writing (Unbroken ’14) and direction from Richard LaGravenese. This fact-based story of an ideological first time teacher (Erin Gruwell) wanting to make a difference in teenager’s lives, is worthy of the time to watch and consider. Hillary Swank gives a sincere and well balanced rendering as Erin Gruwell and the cast supporting her do likewise. Those not prepared to accept the reality of clichés in aspects of everyday life are fooling themselves, so don’t pay too much attention to their rants. Everyone who cares can make inspirational differences in the lives of others (especially the underprivileged) and those who try are to be applauded. This film is up there with “Stand and Deliver” for its genuine subject commitment. The film has actually come full circle, being especially relevant today in light of the ignorance on full display - regarding the propaganda machine (**** style) that many deceived people have allowed themselves to be influenced by all over again! Humanity is so easily (and tragically) led. Overcome blind ‘racial’ division, and half the world’s problems disappear (and that virtually applies the world over)
With its odd title and the fact this was a Disney film of the present age, about women of a past age, made me feel edgy that it might fail at its job. I was wrong. This is superior modern moviemaking thanks to professional direction by Joachim Roning (Kon-Tiki ’12), a thoughtful screenplay (Jeff Nathanson) and a cast of very well-chosen players all working hard to bring this time proven story to vivid life. Added to these pluses are powerful images from cinematographer Oscar Faura –making us feel we are in the water with her. A noteworthy, powerful score by Award winner Amelia Warner adds to our personal involvement. There’s much to enjoy in this inspirational historical sports achievement drama, based on the life of Chanel Swimming sensation Gertrude Ederle, the first woman to swim the English Channel in 1926. Some liberties are taken (rather unnecessarily) but enough of the truth remains to make this a well worthwhile cinematic experience. Disney might have been wiser to give this wider Cinema exposure, which may have been their loss.
This is one of those films that creep up on you after an opening that leaves you wondering just where it could possibly be heading. For a debut writing/direction collaboration by friends, Stanley Tucci and Campbell Scott (Son of George C.) - they certainly create an impression as a talented duo. On a low budget, they manage to bring in a sterling achievement, with a diverse cast featuring a surprising array of interesting personalities - who must have taken pay cuts for the sake of getting this rather off-beat project onto the screen. I’d dare say the fabulous food they consumed during production would have contributed a degree of interest also. The theme of two Italian brothers making it big in the ‘new land’ is handled with humor, laced with a degree of drama as their restaurant business racks up insurmountable debts. Ken Kelsch’s cinematography never gets overly glossy, keeping the duo’s angst and frustration foremost in proceedings. Do they stay or give up? Food here is not only a business but a star that brings people from various backgrounds together in common delight. Nice work with a marvelous end-credit song. Oh, and yes, they are Italian, so they tend to swear a bit.
This is quite a brave production for its year of release. It features some convincing dialogue within its unusual situations and offers sensitive direction, excellent cinematography, and superb performances from its interesting cast. The events it examines are highly emotional and might not suit some people, but the professionalism of the cast and the mature approach to Israeli-born Micky Levy’s dialogue carry it through some, perhaps, shaky plot devices. Alison Eastwood shows a more thoughtful approach to direction than her often boisterous father, bringing in a professional outcome - especially getting a fully convincing performance from young Miles Heizer. Even with some curious logic within certain events portrayed, it‘s a very human picture.
Normally might have dodged a movie with a title like this, fearing it either a chick or feminist flick. Pleasingly this proved neither. Considering this is a debut feature directorial and writing effort, it's a surprisingly mature entry. For this, Jon Kasdan has created several interesting situations, peopled by an above-average cross section of characters - many of whom seem like they might owe more than a passing nod to real family life experiences. There are times, it seems, at any given moment, it could all fall apart, but Kasdan manages to maintain a strong sense of integrity. Thankfully, this isn't just another grotty entry into those trashy youth oriented shows like Porky's or American Pie. The fact that Olympia Dukakis (they don't make names like that anymore) was featured high on the cast made me even more curious to see this one. Director Jon may have received some strong guidance from his famous dad (and in this case, exec producer) or else he's a natural. He certainly gets strong assistance from his excellent cast. Adam Brody as Carter, a soft porn scriptwriter who's now looking to redeem many of his worthless life choices - turns in an extraordinarily mature performance. Given sensitive writing and direction he maintains the mature quality of his character throughout. Meg Ryan proves to be his equal in the difficult role of a neighboring mother with family problems. She’s just been diagnosed with a serious health condition, while Kristen Stewart convinces as her somewhat self absorbed daughter. The casting in this feature is spot-on. Olympia as Grandma is marvelous. Composer, Stephen Trask contributes a thoughtful score although he has to overcome yet another (now overdone) soundtrack filled with pop chart toppers added to pad out several scenes - thus making up the obligatory promo CD (although placement is handled more subtly here) Director of Photography Paul Cameron might have been a little disappointed with the treatment his lovely film imagery received at the hands of an over-the-top digital colorist - turning what should have been his 'natural' images into near 'fluoro' fantasy shots. Why do they think this is necessary? Bring back some natural color grading PLEASE!. It’s possible some younger viewers may not be mature enough to appreciate the thoughtful themes within this work, and anyone who has been drawn to it by the misleading promo advertising (IE: the trailer and posters) may be disappointed. It’s worth staying with for the genuine rewards that add up to a satisfying ending. Hollywood could do with more like this - no explosions, monsters, or over-the-top CGI, just solid storytelling. AND, End Titles large enough to be actually read!
Bob Roberts – An Exercise In Excesses What more could be expected from a movie made by a Democratic Hollywood extremist? other than an overblown mess such as this - all aided and abetted by his equally politically loopy actress wife. If you are so blind that you can’t (or won’t) see beyond the corruption and manipulation of the political left, then you will love this self-adulation and ego-inflating propaganda piece. If you look for balance in your entertainment then I’m sorry, you won’t find any here. The overall structure is rather sloppy and overly busy, but this is camouflaged by the suggestion that it’s all supposed to be a film about a documentary being made (a clever way of excusing inexperienced moviemaking). Anything that’s as one sided as this will sure please the followers - who will pat each other on the back, but fail to grow outside of their one-eyed viewpoints. Those who want to see America fail and plot its demise, will see this as good fuel for the fire but will also fall with the inevitable collapse, that will take all to the negative sludge pit. The Tim and brother David Robins penned songs are corny and don’t do any justice to the Bob Dylan originals they are supposed to be ‘inspired’ by. Many will be happy to watch, but just as many will be lurching for the door.
Not enough words adequately describe the misery inflicted on sane viewers by this over-everything work. Some years back, this movie would have killed the careers of all associated with it (and rightly so) - but with today’s low-grade expectations, we will sadly see them all again. Apart from some slick technical achievements nothing could redeem this low life trash-fest. Of course, certain ‘critics’ seem to think it’s trendy to go with the ‘Awards’ set, but then look at the low ticket sales for genuine public opinion; It’s a Bomb. If early movie making and lifestyles went halfway like this, very little would have been made, and more people would have ended in early graves than actually did. Writer/director Damian Chazelle (La La Land) is another classic example of the overindulgence and stupidity of this modern day industry. Because one of his earlier movies was a hit, the studio honchos and foolish producers gave him a blank cheque --thinking he can’t go wrong-- but he does, in a very $BIG way. Here, he totally goes overboard with everything, proving himself incapable of creating a worthwhile project, and dragging everyone else down the sewer with him. From the moment the Elephant defecates all over the truck driver within the first 5 mins, you know it’s heading to being a stinker. For a film made on an outlandish Super Budget, there are so many bad technical moments that actually make this picture worse than those it sets out to lampoon. Just one example is the main star that runs out of a door with blood covering 98% of his face but comes out the other side with a clean face! Not even a ‘B’ pic would allow that to remain in the final cut. This is crammed with so many ludicrous, drug-fuelled grotty orgies that the editors have difficulties matching scenes with any continuity; the end result is just a headache-inducing, nauseating left over dogs dinner. There are just too many other flaws to list. Big money, big stars and a poor script, do not a good movie make, and filling it with nonstop sickening low-life perversity of every persuasion kills it even further. It’s played too straight to be successful satire and too repugnant for mainstream, 99% of characters are unlikeable, and it goes on interminably. This moviemaker has foolishly fallen into the same trap he’s supposedly exposing. For sensationalist or undiscerning audiences only.
My Wife’s a painter, and this was advertised as a Comedy/Drama based on a real-life PBS painter, shot in gorgeous locations, and was the only PG movie on Foxtel so we went for it. Big mistake. It’s supposed to be set around the 70’s and 80’s but folk are talking about Cell phones and Uber’s...What? The ‘Painter’ of the title has a ‘seduction’ wagon for his fan club conquests, and his past girlfriend of 22 years decides that she might try a dalliance with a lesbian! - so now we are ticking boxes; with a mixed race, sexually confused ‘woman’. Poor taste abounds as a hook for the younger audiences who know no better, and some ‘humour’ that struggles to raise more than a few smiles. Here’s a complete waste of good cinematography, locations, and some wall-to-wall pop songs from the era (whatever ‘that’ era is supposed to be?) that strains its way to a listless ending, leaving the feeling it might have been better going straight to streaming then quickly forgotten. Oh, and PG, really?
Here it is, yet another opportunity for Nick Cage to overact and chew the scenery. He can now walk through these roles blindfolded as they only require the standard set of over-the-top expressions and groan-inducing explicatives. Those who like this sort of limited trash won’t mind, but for a movie with only two main characters and neither of them has any redeeming qualities, it’s a rough road to travel and still find much to enjoy along the way. Joel Kinnaman is OK as the driver Cage ‘kidnaps’, but writer Luke Paradise seems to have only two motivations No.1; To make you feel contempt for humankind and 2; To needlessly kill innocent bystanders while filling in time – neither offers much incentive to bother spending valuable time watching (unless your time is bordering on worthless). For over 90mins, the viewer is forced to run over the same situations and dialogue without getting any closer to finding out if anything might have a resolution, and when the resolution is finally delivered, be left feeling somewhat cheated for what felt like over two Hrs. What might have been a tight little suspense drama is wrung out into an overblown, repugnant hate fest in copycat Tarantino’s lack-of-morals manner. You will have to belong to the school of the easily pleased, otherwise be left wanting your time back. And people wonder why there’s blood on our streets...?
Highly respected Finish director Klaus Harro brings his quiet, controlled professional guidance to this introspective modern study of Familial intrigues and complexities from youth to older age. Writers Jimmy Karlson and Kirisi Vikman bring a sharp and thoughtful observation to this slice-of-life work. It’s pleasing to find that films of this nature and depth remain being made in this era of superficial cartoon heroes and action fodder, churned out for largely uninvolved ‘kids’ of all ages. Strong performances are essential for stories without CGI wizardry and non-stop action, and this cast of mature-aged players certainly keep the flow of emotions on track from first frame to last. In fact, right from the first scene (Catherine Walker in a group therapy session) you know an emotional tour de force may be on its way. All the carefully selected players are totally convincing as they bring the layers of complex relationships into the viewer’s understanding. The dialog is intelligent, with the viewer needing to devote attention to following, lest you miss a vital line (having the ability to rewind is helpful) so DVD or Home Cinema set-ups can help with this. Striking wide-screen vistas of the Irish Coastline captured by Robert Nordstrom (The Disciple ’13) are a joy to take in on a larger screen. Award winning Belgium born (of Italian parents) Michelino Bisceglia supplies the descriptive (classic inspired) score. Even Finbar Furey delivers an unannounced song. Lovers of Bergman studies are more inclined to run with this one, as well as O’Neil devotees. Some have disagreed with the time devoted to certain character changes, but they are in keeping when each character's back stories are fully known. Polished viewing for discerning viewers. Younger audiences may not be as appreciative.
It’s often amazing how little it takes for a film to be taken as an Award winner. This is now looked upon as a good example of the grueling Chain Gang genre. It seems maybe ‘they’ have not seen “I‘am A Fugitive from a Chain Gang”, “Sullivan’s Travels, or “Strange Cargo”. In this illustration the convicts have plenty of food to eat, get to have plenty of sleep, clean clothes, and even have time for silly food eating competitions like; betting who can eat 50 hard boiled eggs!. Apart from some hard road work it’s more like a naughty boys club. Luke is somehow seen to be a Christ-like character, even though he is little more than a drunken bum who endlessly blasphemes and vandalizes parking meters. These writers clearly know little about Christ. Try Richard Sale’s ‘Strange Cargo’ for a convincing Christ like chain gang character - this limp script seems to have ‘borrowed’ from Sales example – and not at all very well. The sequence with the floozy washing a car is so cheesy in its contrived construction that it's little more than borderline el-cheapo R stuff to pad out the run time. Conrad Hall's Technicolor cinematography, and a curious cast of support players, offer more interest than the script. Also not sure Stuart Rosenberg was quite the right director for this one. Lalo Schifrin’s score is highly reminiscent of another Newman effort just a few years earlier by Elmer Bernstein for “Hud”. ‘Luke’ ambles on for over two Hrs towards a disappointing resolution, ending up rather forgettable but seems to have pleased someone!
A dreary overstretched, silly story, not worth the valuable time it takes to watch. It's about as juvenile as too many other Eastwood Shows of this time. 2 stars would even be too high. Coupled with the fact it lost a motza of money tells us the audiences thought so too. Only just made it to the end of this for comment, but never again. The screenplay is given little more treatment than a cheap TV EP - with so many far-fetched situations that defy all logic. Eastwood's just out of Massive Open Heart surgery for a full heart replacement - but dodges speeding cars, and fights violent thugs, along with the juvenile addition of a 'love' interest between the 70+year-old Eastwood and a 30-something woman is laughable. Wish I hadn’t wasted the time.
It must have been a bad year in dark, bleak Canada for something like this to be given any sort of Award other than that of a stinker. If we never visit the despotic mind of Brandon Cronenberg again, that will be too soon. Some people may enjoy the satanic realm they exist within but spare a thought for those not wishing to be infected. Words fail to describe the perverse nature of this trivial mess; it’s so bad even the actors seem to be treating it as a chore to get through, just taking the money and bolting for the door. This is ultimately actor and audience abuse. Sickeningly graphic body mutilation and totally perverse sex acts - with all nudity falling heavily into the squalid side, do not make for any form of healthy entertainment - unless the audience is as demented as the writer/director, who is obviously over-indulging in his own sick kicks. Among the excuses made for this ‘story’ is; That it’s attacking decadence and the ‘rich’ – maybe we should ask then, are the Cronenberg’s poor? or is this the limp excuse used to simply justify perverse cinematic overindulgence? Anyone who thinks that Shock, for Shock’s sake, is clever needs to smarten up their brain before it rots any further. Maybe for the sake of your mental stability consider staying away from this way over-stretched putrid mess. Footnote; for those who have already suffered through this movieInterestingly, the absolutely scathing review the script gives for the Alexander Skarsgard character's book is a perfect description of this movie’s plot. Just couldn’t be better put, and by its own writer!
JT Leroy – A Difficult Watch Damaged persona author Laura Albert, after writing several books supposedly about her suffering at the hands of a seriously abusive mother, published her books under a ‘fake’ male name. When members of the book and movie world began showing serious interest in her publications, she convinced her gender-confused sister-in-law to pose as the phantom author, JT Leroy. She then began promoting interviews under ‘his’ literary ‘persona’. She/he was then set up to appear at press conferences in male attire, wig, and large dark glasses with various production meetings organized to push for funding and promotional setups. It’s a rather grotty scenario, and the further the charade is pushed the more obvious the deception becomes for all involved. Laura Dern works hard as the damaged writer, living out her impossible lie while Kristen Stewart plods along in the underwhelming role of JT Leroy. It’s well photographed by Bobby Bukowski, but the screenplay and direction by Justin Kelly ends up being just another ugly ‘modern’ movie, about ‘modern’ ugly people. This supposed fact-based story (difficult to know where the ‘truth’ lies) also shines a light on how easily conned our modern pop stars, and movie makers are. Again SBS World Movies plays it as an M, but this is MA/R material, time they employed better classifiers to more correctly inform us. Endless F-bombs, booze, and sex scenes (some sleazy) throughout.
The Day Shall Come – If This Is Satire, It Came and Went On paper, this one claimed to be exposing the corrupt activities of elements of the FBI. This was to be done via several real-life sham operations, including a plot to mock-up a case against an impoverished Preacher of a local ‘church’. In turn, this would bring recognition and false justification to the dept’s worthless existence. If better handled this might have been commendable, but the problems surface early in the script, with crudely written vulgar dialogue, delivered in sloppy, so-called ‘hip satirical humor’. This might have supplied something worth’ thinking’ about while making us laugh, by rightly delivering a well-deserved slam of the FBI - also exposing the hypocrisy of certain Black vers White (and other ‘racial’ hatred) movements. As is, it’s difficult to raise more than a mild grin with endless unfunny lines that simply leave the hapless performers with a foot in their mouths while delivering endless, perverse one-liners. ‘Controversial’ (too often for the sake of it) writer/director Christopher Morris (Brass Eye-Paedophilia prog) along with Tony Roche and others have pushed this lame duck over the edge, and into oblivion. Lovers of so-called ‘outlandish satire’ may find this to their offish tastes, but looking at ticket sales, most audiences were aware in advance, displaying intelligence by staying away (perhaps a wake–up call needed here for BFI producers) Has good things to say but throws them away. And by the way SBS World Movies, this is obvious MA material- not M as you are currently misguiding viewers with.
Full Time – Non-Stop Transit Bad Dream This is quality movie making, highlighting the hand-to-mouth existence of a single working mum - struggling to keep the wolf from the door while commuting to and from Paris during a crippling transport strike. For his second feature, writer/director Eric Gravel makes sure not a moment is wasted on unnecessary story details - this is solid storytelling capturing the exhausting, everyday battles so many modern parents and workers are forced to face in cities all over the world - while also being a strong comment on social and personal mores. Laure Calamy’s striking performance certainly earns the well-deserved praise for her award-winning performance as the 5 star chambermaid trapped in hideous robot-like working conditions. While not all the ideas may come off perfectly, its good stuff, with a Tangerine Dream like soundscape to keep it moving. Recommended as above–average quality, for discerning viewers.
Arctic – Offers Some Challenges Writer/Director Joe Penna’s quite powerful debut feature is helped immensely by Tomas Örn Tómasson’s stylish location cinematography, and Mads Mikkelsen is perfect in the lead. It’s a classic slow-burn survival story played out within inhospitable and constantly threatening landscapes. It also offers some helpful survivor tips (but avoids some also) - the sense of hopelessness is exacerbated by the irony of also having to care for a possible ‘rescuer’. As could be predicted, the pace is dictated by the attempts to exist in an ice-covered terrain. Some reviewers have said it lacks spirituality, and this could be true as no one can survive in a no man’s land, with so little hope of survival, without delving into that place in the mind that analyses the unknown. This is when we most feel the need to wonder about all those unanswered questions, the ones we can easily push out of our everyday thoughts, that is, when we don't need to think about them. Some say outright they don't believe in God, but when all we have to prove this is that powerful, but miniscule organ known as the human brain –actually makes this assumption rather humorous. Why? some ask. What are we mere mortals when measured against that endlessness of an infinite Universe? As molecules of this awesome vastness, how very little we can conclusively prove makes us almost ridiculously presumptuous, laying bare our own immense limitations. While we have both feet firmly planted in the safety of our modern world, we can seem invincible, but take us out of our comfort zones, and this is when we really get to know ourselves - and how little we actually comprehend the mystery of our origins. Yes, the picture needed a stronger spiritual side to remind us that these survivors are mere humans, and their struggle is momentous.
I Love My Dad – Really... How to describe a movie like this? Social media pundits may think it savvy and maybe even relevant, but many will see through the thin veneer of this story - which claims to be true but comes across as somewhat suss. Comedy? Well, if a young man undergoing a serious recovery session following an attempted suicide - being goaded by an absentee father who has stolen a young woman’s social media details. And is now trying to connect with his son by pretending to be this young woman wanting to ‘friend’ him...strikes you as funny, it might work for you. Performances are fine, as is the cinematography, use of music is in keeping, but the script is overloaded with cheap, vulgar dialogue like you’d expect from a low-grade R rated teen show. There are several life-threatening situations that leave you expecting a tragic outcome, all creating a bad taste in the mouth. The father’s cringe-worthy actions are only made partly bearable by a good performance from Patton Oswalt, failing that, quite unforgivable. If this is the best to be expected from social media-based stories, then let’s hope we don’t get bludgeoned over the head with many more. Twitter I can accept, but have heard it said; ‘With friends like Facebook, you don’t need enemies,’ and this show tends to illustrate that quite well. The better elements within this one are let down by too many shoddy, unsavory moments. And World Movies ran this as a Father’s Day movie – How old are their programmers?
Cordelia – Style With Little Substance It felt like I had seen this all before (think; Polanski’s The Tennant & Repulsion) all the way through to the non-ending. Every so often writers and movie makers want to create a beguiling work that leaves audiences perplexed, they think they’re being clever (maybe they are), but when audiences sit for over an hour and a half, when they leave, they understandably want something to take with them that feels complete. While some think it's creative to simply give out assorted clues, so others can think their smart enough to unravel them – most will feel let down when everything they thought they saw, maybe didn’t happen at all. It’s stylish, well played out, but ultimately unpleasant and unsatisfying, with a script that’s possibly as thin as the co-writer/main star. If you like movies with endless loose ends, and nothing to tie them together, this is the show for you.
Creation – Creates More Questions I came late to this surprisingly high-quality production, probably because of low distribution. It’s also surprisingly disappointing how many felt this story ended where it should have begun, what did they want, yet another re-telling of Darwin and his theories? Writer Randal Hume Keynes, the Great Great Grandson of Darwin has given us an insight into the early life of Charles, allowing us to gain an understanding of the torment and confusion that preceded the publication of his life-changing book and his dedication to family. We learn about the conflicting views on life between him and his beloved wife Emma, a devout Christian who feared his evolutional writings may separate them from life eternal. We follow his torment at the loss of his daughter Annie, his desperate attempts to find a cure for her debilitating sickness, and the haunting guilt-ridden memories that cause him acute ill health. All these situations are given an intensely sensitive treatment by director Jon Amiel (The Singing Detective) with warmth and integrity supplied by a thoughtful screenplay from John Collee (Hotel Mumbai). Performances are as remarkable as the overall production values, while Christopher Young graces it with a melodic music score. The striking locations are lensed by cinematographer Jess Hall with much being filmed at Darwin’s home in Kent. This sincere recreation gives insights into a complex life work through loving relationships and personal battles and may even bring together a unique blending of creation via some forms of evolution (something I have no trouble with) A unique study of the astounding wonder and infinite beauty of our beguiling world, a world that continues to bring constant debate between science and the faithful, showing our limited human brain can only understand so much before we have to concede to the great mystery of creation. Yes, those unanswered questions are still out there, and trying to answer them will only hurt your head - we have to wait for whatever answers may come.
Blaze – Delivers a Mild Scorch It seems Australian moviemakers mistakenly believe they have to be controversially grim to be taken seriously. Back in the 70s and 80s, the world was singing the praises of Australia as being amongst the only countries producing quality entertainment for all-family audiences. We were riding the crest of the wave in this field. Now we often tend to struggle to make ends meet with wall to wall social horror stories. Blaze, while having moments of empathy, continually roller coasters its audience with either the super ‘arty’ or the super grim. When modern artists turn to making movies it's inevitable it will be drowning in numerous forms of ‘art’. The filmmaker, Del Kathryn Barton claims this story of a traumatised pre-teen following witnessing a **** is not her personal biography but examines a similar thread of instances in her own life. She doesn’t want to tell us just what happened to her and maybe we don’t need to know. Some of the ‘dream like‘sequences using stop-motion puppets are intriguing while others sequences more resemble a school kids installation in a gallery. Many of these are overlong, over-done, and heavy-handed, most involve a creation that’s half Luck Dragon and a glitter studded Mardi-grass float decoration. Performances are fine-tuned, and the cinematography is stylish, but for a 96 minute movie, this felt like over 2 Hrs. Those with a love of intense re-enacted studies of kids in trauma situations may appreciate this one, others may be reaching for the double speed remote. A little less art and more heart might have helped.
Play It Forward: Nice Idea – Poor Execution Hollywood is on display here, sadly in all its shallow glory. This one starts off well but all too quickly dumbs itself down with a superficial veneer of emotional manipulation. Spacey and Hunt, while convincing, seem somewhat miss cast as a school teacher and single ’recovering’ alcoholic mum - with her son playing cupid in classic sitcom-style ‘seriousness’. While the movie-makers have good intentions in attempting to include some ‘worthy’ causes, they sadly end up not doing full justice to any of them. In an attempt to add ‘depth’ to the often labored, clichéd situations, it feels as if the producers have tacked on a tragic ending that stretches the running time beyond its welcome. Those looking for some sort of a message may find something pleasing or even inspiring, others may be left wading through the messy editing structure, and some heavy-handed plot devices. For a movie largely about kids, it’s not a particularly good one for them to see.
Proof – Top Grade
As motion picture studies of mental illness go, Proof would have to be regarded as one of the better attempts. The performances are on target with Paltrow and Hopkins pulling out all stops, bringing their father-daughter character’s personal dilemmas sharply into believable focus. John Madden’s (Mrs Brown ’97) assured direction keeps the details and pace in perfect harmony - while milking the nuances of the excellent screenplay (co-written by David Auburn from his Pulitzer Prize-winning play to full potential, at no time does this ever feel stagey. Proof is as entertaining as it is an intelligent observation of characters on the edge of understood normality - struggling to maintain their grip on reality and maintaining a sense of worth within the realm of society, and in this case, the world of mathematics. Production values are superior, featuring cinematography by Award nominated DOP Alwin H. Küchler - while Oscar-winning composer Stephen Warbeck won the Georges Delerue Award for his fine score. Superior entertainment. Note: An in-context, sex scene makes it more recommended for a mature audience.
Director/producer Mira Nair (Vanity Fair’04) brings yet another deeply personal story to the screen - based on the book by Pulitzer Prize-winning writer Jhumpa Lahiri, with a screen adaption by prize winner Sooni Taraporevala. Director Nair invests a great deal of effort into analyzing the generation gap in an Indian-American family, as they navigate their differences in moral and ethical issues, alongside their traditional family ties from the mother country. Irrfran Kahn (Life of Pi) gives us another superb performance as the father, while gifted Indian actress Tabu equals him as his dedicated wife. Together they try earnestly to connect with their adolescent son (Kal Penn) who’s drifting towards a ‘modern’ shallow existence - failing to connect with those who have dedicated their lives to supplying a loving family base. Cinematography and Music play an important part in guiding the audience’s attention through the multi-layered issues that live within this quality, mature work.
Keeping Mum – Please, Keep Away Mum Here’s one for those who like to laugh without thinking too much about the writing. The black ‘humor’ gets blacker and grottier as this over-the-top nonsense falls off the rails. While it boasts a good cast and production values, all other values are forgotten as the movie makers go all out for lowly giggles and thinly veiled soft porn. Rather obviously borrowing from the earlier American ‘Arsenic and Old Lace’ this English picture adds a grimy American character (Patrick Swayze) lusting after any woman who presents as a vulnerable conquest. In the sales promo Mr Swayze says “Every so often a script comes along that stands out from the rest” - Poor Pat, he sure must have been offered a lot of stinkers or more likely was paid handsomely to make that statement! Mr Atkinson has played local Vickers several times before, but this could possibly be his weakest. The casting and handsome locations will carry this for most viewers, but anyone wanting more may be disappointed by the total outcome.
Under The Volcano – A Dramatic Excursion What might we have experienced if the demon drink hadn’t taken hold of brilliant English wordsmith Malcolm Lowry? What might his planned epic: ‘The Voyage That Never Ends’ have yielded to modern literature, had he lived beyond his short 47yrs? Veteran director John Huston’s 1984 treatment gives us a chance to examine some of the literary genius (via a good adaption) that the world’s been sadly left wanting for more. Under the Volcano is not exactly an easily accessed work in either availability or ease of entering its character’s sometimes debauched world - after all, the story follows the final days in the life of an alcoholic. Lowry's writing style could be described as reminiscent of Eugene O'Neil, with touches of Shakespeare, and performances here do it justice. Set and produced on location in Mexico around their celebration of the Day of the Dead this tends to set us up for the interesting, but tawdry journey in our central character’s last few days. The year is 1938, and members of the Synarchrist Union (NRS) are murdering and robbing locals - within the approaching tide of ****. This sets off a series of dramatic events leading to conflict involving our protagonist and his wife. This would be Huston’s third last film. Photographed by highly respected cinematographer Gabriel Figueroa (Night of the Iguana ’64) with a music score by Alex North (Spartacus’60) There’s a creatively designed main title sequence (By Huston’s son Danny) that introduces us to the eerie setting - leading the viewer into a challenging watch that might well please serious lovers of art-house cinema. A nicely transferred DVD is available.
Shanghai Gesture – Out Of the Fog and Smoke What a surprise this turned out to be. Von Sternberg literally paints his images onto the screen with his ever-moving camera, as he glides and weaves through his remarkably maze-like sets. With French born Cinematographer Paul Ivano, we are treated to dazzling images and a screen adaption that belies the stage origins of John Colton’s interesting and rather complex play. Strong dialogue plays a key role in cementing the rhythm and flow of the fascinating sequences as they build to an unexpected finale. Walter Huston is compelling as ever as the powerbroker hiding a mysterious past, with a very young Gene Tierney playing more believably than I’ve ever seen before as the newcomer – taking the fast lane towards a dead end, alongside an equally youthful Victor Mature as an opportunistic casino gigolo. A string of assorted colorful characters are brought to life under Josef Von Sternberg’s skillful direction. As rarely played as it is now, it should be seen by all students & lovers of solid vintage cinema. Some good DVDs available.
Dante’s Inferno – An Early Morality Tale Inspired by the Alighieri Classic. Those not understanding the extreme limitations that makers of film spectaculars had to endure in the early 30s won’t understand the raves for this astounding production. American-born Harry B. Lachman, who in his early 20s emigrated to Paris and became a much-lauded impressionist painter (awarded the Légion d'Honneur by the French government) When he returned to America he was sought after as a set designer and director. For this picture, he was teamed with talented Hungarian- born cinematographer Rudolf Mate (Dodsworth ’36 - who 12 years later would turn to directing). What these artists do with massive sets and models merged with eye-popping photography is little short of breathtaking. Without the likes of CGI, they had to create and work with giant sets, with high numbers of extras working in dangerous situations, and come out looking as believable as the times would permit. The end result is quite exceptional. Sound was still in its early days so some levels were a challenge. Performances from a young Spencer Tracy and lovely Clair Trevor are very good considering the material they are working with – veteran performer Henry Walthall (of D.W.Grifith fame) supplies fine support as Pop, the owner of the ‘Inferno’ sideshow attraction. Prolific veteran composer (sadly too often uncredited) Reginald Hazeltine Basset (David Copperfield ’35) supplies the vast score and Rita Hayworth dances uncredited. This is one to enjoy for its inventive use of visuals and all the challenges that early filmmakers had to overcome. It’s now a little-known vintage winner that should be seen by all motion picture devotees. It’s the last film produced by the Fox Corporation before the merger with 20th Century and there are nice remastered discs available Note: some content will be seen as politically incorrect nowadays.
Sundown – A Slow Burn While not a dedicated fan of Tim Roth, he acquits himself rather well in the serious but ambiguous role of a ‘tourist’ in Acapulco, behaving very strangely. But, is it ever really right for a writer/director (Michel Franco) to deliberately keep vital details about their story and its characters from the audience - in order to make the main theme and situations more difficult to fathom? This is one of those cases where we are forced to wonder what’s driving the central characters - while being kept out of the vital loop to understand their motivations and actions. At times this device can add a mysterious element to certain stories but this one is just too meanderingly bland to qualify as a mystery per se. Still, the makers expect us to have the patience to stay with it long enough to fill in the missing pieces. Too many people read about the movies they choose to see before watching, then think they are superior for ‘working it out’, but for others who like to go in cold and let the story unfold in its own time, it’s another matter. Minimalist works such as this require more detail to allow us to connect the more outlandish sections (and there are several here) to where the story is heading. While at times interesting and rather tragic, it’s just as well this has a shortish runtime as any more would have killed it entirely. The ending doesn’t fully deliver a complete understanding of the many peculiar prior actions, and judging from the bulk of reviews, this may not be adequate closure for many to accept, and understandably so.
The Drovers Wife – The Legend of Molly Johnson (forget Henry Lawson you won’t find him here) This recent Australian movie looked like it could be the one we were waiting for to put Aussie films back on the international quality trail. Striking cinematography by Mark Wareham in and around the Snowy Mountains offers mesmerizing vistas, all captured within high-grade camerawork. Good central performances including a stand out by young Malachi Dower-Roberts as Molly’s young son. Multi-talented musician/composer Salliana Seven Campbell’s score is interesting but often intrudes on proceedings, if it’s not the tempo it’s the sound mix. Leah Purcell works hard in the lead role of Molly Johnson, and her story is often important but she fails to keep the project on target as writer and director. Too many situations don’t hold too close scrutiny with some bordering on being outlandish - seems we are still trying to copycat Italian Westerns. It’s a pity indigenous filmmakers feel the need to drive a wedge through all attempts at integration by pushing the political ‘them against us’ narrative and doing so with evermore over-the-top violence and emotional manipulation. Here, she overloads her story with the grossest whites (like almost everyone) while the blacks are only shown as gentle peace lovers. This is never always the case and comes across as biased hypocrisy, leaving a disappointing aftertaste. A well-balanced film will involve both sides of the political situation without continually looking back to the past for fault and victim blaming. We will never move forward while this continual hatred is pushed in every augment for equality. Leah has been given the opportunity for a career within this modern nation’s industry but seems only capable of spewing back hatred. We see enough of this from politicians like Senator Lidia Thorp without it also permeating our entertainment. Disappointing.
There were moments when this Danish story looked as if it might have offered more promise, but as it moves forward it loses vital pace - with too many pretentious asides, slotted within too many flashbacks. For a movie about food, very little of it looked particularly appetizing, and the script offers up somewhat trite situations to excuse several of its main character's rather foolish indulgences. While the cast works hard and some locations are good looking, overall it’s largely a disappointment, seeming to run twice as long as it actually did. The story quite heavily involves children, but with several suspect sex scenes, and crude dialogue throughout, it’s certainly not recommended for young viewers. One scene has the main couple's traumatized little daughter being offered intense personal counseling, but this takes the form of group therapy (rather unlikely in this situation). The screenplay seems to bite off more than it can chew but will be a time passer for some.
Suffragette – There’s more to this Story
What could have been a strong historical statement is given a somewhat ‘them against us’ treatment, which unfortunately has become typical of the feminist driven B.F.I. of recent years. Here, the writers focus on the fictional character played by Carey Mulligan, to draw a generally manipulative view of the hard-earned plight of voting rights for women. It seems that history sees it differently from the BFI and too many details of these events have been left un-examined (this can be researched by anyone interested in history) What this story needs is a fact-based treatment by a documentarian of the caliber of Ken Burns. Director Sarah Gavron and writer Abi Morgan spend too much time focusing on one aspect of this event in history and leave too much unexplored. We are treated to only one brief scene involving any political discussion surrounding this tumultuous time, and too much on the struggle of a fictional character. As for the films design, it’s too claustrophobic to become fully engaged. Every scene is shot using dark murky fog filters with overuse of close-ups, all created using a cheap wobble-cam-hand-held-camera style. Those not concerned with cinematic technicalities may not be overly bothered with this but others will, and have been left disappointed. As a plus, young Adam Michael is superb as Mulligan’s son. Many men of the day supported the votes for women’s movement, but here we are lucky to find only one. It’s a reasonably engaging opus but could have and should have been far better. It’s interesting that we don’t know if Emily Davison suicided or only wanted to display her banner on the king's horse and was trampled in the attempt. There are two schools of thought on this.
Freeheld – Pushes a half-filled Barrow Based loosely on true events, Freeheld is a sad story, and we can feel for the plight of lesbians Laurel Hester and Stacie Andree in their quest to choose their financial beneficiaries on death. Yet for all its makers’ intentions, what comes through is just another flat agenda pushing production, consisting of stereotypical performances and telegraphed movie-making. The obvious casting choices were all designed to make the viewer ‘sympathetic’ to the cause, and the lazy script simply expected everyone to be on-board with its strained, one sided message. Steve Carell’s performance as the homosexual Jewish rabbi was so over the top as to be more of a cartoon caricature, generating more annoyance than sympathy. Then there’s the somewhat ill-informed priest, who comes forth to give evidence in court to convince us that Jesus said ‘nothing’ against Homosexuality. He clearly never read Christ’s very own forthright claim that; “He never came to change one iota of his father’s law”. That means nothing, not even the dot of an i or the cross of a t; all which went before, holds. Some might attempt to reduce these down to technicalities, but when being presented in a court of law, they count. What have we witnessed since same sex marriage became law? Is love still love or has the hate increased amongst so many other diverse groups now clamoring to be ‘accepted’? By all means yes, change the contractual equality laws between couples - Presently, we even have a call to accept the perversions of pornographic ‘comic book style’ literature and cross-dressing men graphically grooming children in schools and libraries across the land. What’s to be ‘proud’ of in these activities? Maybe it’s even time to reel in some of these watered down laws and accept that obscenity is now thriving and attempting to take over many of our vital human qualities - all so particular selfish individuals can overindulge their perversions in the name of ‘Diversification & inclusion’. Laws can only be pushed so far then sadly, they fall over, serving no good cause. The failure of this picture to find an appreciative audience speaks for itself and while there will always be those who will
Breach – A heady Spy Drama Thanks to a friend’s recommendation I came late to this one and while constantly watchable, in fact quite engrossing, Breach is to be taken as a Hollywood product. While based on specific amazing facts regarding anti-American spy Robert Hanssen, many situations are fabrications of the screenwriter. That said, this production remains superior movie entertainment. As always, the strength of the central performances will differ with each viewer’s attachment to those cast in respective roles but generally, all acquit themselves well, with Chris Cooper particularly eerie as Hanssen. Director/co-screen adaptor Billy Ray thankfully avoids over-indulging in too much modern sensationalism - apart from the totally fictionalized, sexual perversions of the main character. American-born Cinematographer Tak Fujimoto creates mystic images, while Composer Michael Danna matches his compositions and carries the moods. This successful production should please those with an appreciation for complex dramas with a basis in factual characters.
The Forgiven – Or Are They? It’s difficult to know what writer/director (John Michael McDonough) was trying to convey with this production. It’s about a group of highly unlikeable (in fact totally despicable) privileged whites, gathering together for a grossly decadent ‘party’ in a most unlikely **** isolated semi-palace in the middle of the Moroccan desert. With scant knowledge about the hosts or their guests, we are simply expected to put up with their all too obviously unsubtle vulgar language and generally vile behavior, as they settle into a weekend of grotty debauchery. Drugs, booze, and sex are all part of the sleaze on offer while being attended to by local Moroccan servants -- all who seem to view their employers and guests as worthless rubbish-- which the filmmakers go out of their way to demonstrate. The activities of these privileged whites are served up as gross sensationalism that’s bent toward manipulating our view of them as worthless - while all the Muslim servants are presented as angelic – that alone is conjuring up a theme of deliberate racial hatred for little reason other than the sake of it. Is this the sole point of this movie; is there nothing of any other purpose here? At one point a local teenager is killed in a somewhat careless accident, this produces the film’s best segment. The father of the boy (played with intensity by Ismael Kanater) requests the perpetrator to go with him while he buries his son, causing much anxiety, but the outcome of this can only be viewed as somewhat peculiar in the extreme. This could have been a modern classic with a more rounded and balanced script. The visual quality is evident and the cast clearly hand-picked, there’s an effective atmospheric music score courtesy of Lorne Balfe but how much of Lawrence Osborne’s novel remains within the screenplay? (seems to have serious omissions) If the object of this project was to generate hatred for whites, it’s done its dirty job but will this help any of the world's social relationships heal? I doubt it very much. Best Quote: from a Moroccan servant after witnessing a blatant act of adultery by a female guest; "A woman with no discretion is like a gold ring through a pigs snout” (no, not Moroccan wisdom, as this pic would have you believe but Proverbs 11:22.
Looking more like an extended episode of Bud Schulberg’s interesting old low-budget TV series “The Everglades” (if anyone can recall that one) this superbly location-filmed effort is big on visual beauty but light on believability. We have a very young girl (7-8) without any means of family or financial support (apart from some mussel gathering) surviving alone in a highly hostile environment, growing up clean and civilized, over a vital decade of her developing youth - seemingly, solely on some meager local storekeeper **** this alone is quite a stretch. Now comes the by-the-numbers murder trial, with its manipulative casting of mean, unlikeable prosecution, and most agreeable defense. Then, we the viewer, after being convinced it was not possible, are left with absolutely no knowledge of just how the crime was committed. While good to look at, with a hard-working cast, interesting score, this interpretation does not overcome some poor screenplay information, ending up resembling more of a Romance-Lifestyle Channel movie - still, that seems to be pleasing many undemanding viewers. Kudos to Scarlet Letters for giving us an end-credit crawl with letters large enough that we can all read, complete with gorgeous artwork graphics!
Malena ‘2000 – Glossy Excuses Hiding in plain sight is screenplay writer/director Giuseppe Tornatore’s superficial attempts to camouflage his own attraction to sexual immorality. All too often, as with his contemporaries, Pasolini and Bertolucci, the aim is to hide their personal obsessions within historical situations as a thin excuse for suspect over-indulgence - Paedophilia and abuse are never far from sight in their works. They use expensively stylized production values such as lush cinematography, music scores, and glossy cast members, all aided and abetted by equally suss producers (and in this case, none other than the perverse Harvey Weinstein) These moviemakers set about creating seductive stories dressed in ‘nice’ imagery, yet no matter how much the ‘artist’ polishes a turd it still remains a turd. Using the backdrop of a fictional Italian town during world war 11, we have a gorgeous (and actually innocent) young woman who literally, every male (bar none!) is setting up to have carnal relations with. Even the town’s school kids are shown interfering with themselves in lust for her. Predictably, the town’s other womenfolk are all stereotypically depicted as stuffy types with malevolent, violent hatred towards her. This excuses the movie maker for setting up endlessly obscene situations to show off the desired, vulnerable female subject – throughout this, the superficial gloss is supposed to dress it up as ‘art’. For a discerning audience, this manipulation will appear obvious, and may only please (or fool) those with a bent toward the perverse.
Searching For Bobby Fisher – A Surprising Find Interesting writer Steven Zaillian’s (A Civil Action, Schindler’s List) first directorial effort is little short of a landmark achievement. This searching drama works on many psychological levels but places its understanding of humanity above its technical achievements – giving both an equal serve of due importance. As with all child prodigies, there’s always much to unpack in balancing the acute levels of talent with the all-important social interactions. This based-on-fact study of a young Chess champion hooks the viewer into considering just where this young soul may end up in his future life. As the title implies we get to see the polarizing effects such astounding talent can unleash on the often, precarious levels of sanity, for the extremely gifted (or might it be afflicted?) - the fascinating story of enigmatic Bobby Fisher is told via inserted newsreel footage. Here is a film that can be equally enjoyed by the Chess ignorant or the guru. Conrad Hall’s Award-winning cinematography seems a little cramped (as if tailored to suit a TV screen of its day) compared to much of his other works, but is clearly suited to this subject. Even though some facts are modified (as with all screenplays), the cast is made up of wall-to-wall talent making it constantly compelling viewing. It’s also odd to find a full-blown music score accompanying an introspective subject, but the late great James Horner leaves his trademark elevations to add a higher dimension to the proceedings. Thanks to the recommendation of a friend, I came to this classic late, but glad to now regard it as a firm favorite. It’s a production that deserves a larger audience.
American Night – As Hazy and Bleak as a Blizzard How many more copycat movies can be thrust at us based on other copycat moviemakers works - before everyone runs screaming from the room – or are perhaps the money providers as unintelligent as the movie makers? The writer/director’s name (Alessio Della Valle) of this stinker, may now need to be added to those 'must-avoid' lists. Is this the product that can now be expected to clog up our screens, made by those who grew up watching over-baked Sergio Leone, Tarantino, etc, movies? If so, heaven help society. With apologies to some, here is a story as superficial as the ‘art’ it’s inspired by. Warhol and Pollack were ‘artists’ selected by the ‘Promote American Art’ Economic Contingent of the CIA, with the sole intention of pushing American art into the Super-High price range of its European counterparts. And, as Big money most assuredly corrupts both art critics and sellers, these ‘deals’ served the purpose by spreading the myth...that’s become today’s blind ‘reality’ (you can fool or buy most of the people most of the time). This foul, bullet and blood-laden swear fest, drags its way through its own slime to its seemingly interminable conclusion (even at half its 2Hr length this mess would seem overlong) Perhaps some bikie gang members may last the distance, but viewers seeking substance will need to protect their heads by making a U-Turn, before letting this lowly, pseudo-intellect sewage into their lives. Watch the box office returns take a nose dive - It's all grotty style and no substance.
Another example of what it seems we can expect from wannabe moviemakers (Gigi Gaston) who looks like she grew up watching third-rate movies by trendy low-lives. It can’t get much worse than this movie re-tread of several other films, which at least, treated the now overly-familiar theme with more conviction. It’s also surprising Sam Worthington accepted this poor excuse for writing --unless of course, he didn’t bother to read the script-- from here on, he now risks being labeled Sam Worthless. A scant story about a jaded stripper (dances to Silent Night, how jaded can you get!) taking the child victim **** family murder on a road trip, to find someone to plant him with - is ludicrously fraught with grotty situations and swear-fest, ultra-cheap dialogue. No one comes off in any way well from this trashy entry. These cheap productions made by little-talented moviemakers, simply place a few well-known names in sub-standard material, then pad out scenes with boring pop songs and convoluted editing, substituting for any solid story, then foolishly expect audiences not to be appalled. Take a look at the endless viewer bagging and begin to show them more respect, before losing them altogether. A stinker in every sense.
The Farewell - Brings It All Home (do you tell them or keep it secret?) Spoiler Free Writer/director Lulu Wang’s first feature is about as good as it gets for a debut, especially one based on emotional situations involving her family. She captures the divide I suspect many immigrants must experience when settling in a new country and identifying with a new culture. In some ways, it might have been good for her to play herself in the lead. But then, with being a first attempt at feature movie making and a project as personally involving as this, I agree, that would have been a hefty call. Her cast is marvelous, with each delivering perfect characterizations to the somewhat demanding situations they bring to life. It’s billed as a comedy (I figure mainly for the sales angle) and while there’s a good degree of ironic humor, I seemed to spend more time with watery eyes. Her director of photography, Spanish-born Anna Franquesa Solano delivers highly professional steady images, for what appears to be only her second feature and it's a welcome relief from the clumsy wobble cam so often found in Indi shows. Perhaps it’s a little longish at 1h40m and might have done with less of the slow-mo (although some of this is emotionally strong) Composer Alex Weston provides a thoughtful score and the careful selection of additional accompanying songs is superb, all helping to create a warm feel to proceedings. It’s to be hoped we see more quality features from this talented young woman, and that she may resist the temptation to throw it away on lowly commercial features – she certainly has proven that independent stories can out-gross even the big budget productions. The DVD features extras and is nicely transferred, although the white subtitles would have benefitted from an added black drop-shadow (and yes, one of the deleted scenes should not have even been considered for the final script, a good decision by whoever made it) Above Average. I'm wondering just what the Chinese didn't like about this pic (but can guess)
Mr Jones – An Idealist Tells Us Much about Holodomor This intriguing and well-cast film tells a timely story of the long-term historical conflict within the Ukraine/Russian tragedy. Highly suspect involvement by members of the international press (working within the USSR, England, USA, and Wales) is stripped bare - offering closer examination of the role played by members of international war correspondence staff. It carefully details their shady involvements in perpetuating communist propaganda – performed either in exchange for protecting their sleazy sexual activities or for financial reward – if not actually for both. A professionally made film dealing with several contentious political situations, which all deserve re-examination and more thorough investigation. Polish-born director Agnieszka Holland (Europa Europa ’90) brings Andrea Chalupa’s searching script to life with all its important facts and possible new insights. Together they highlight the decadence of the era - exposing varied degrees of immorality perpetuating among 1930s Political and so-called ‘high society’ circles. Being closely examined, is the Stalin regime’s 5-year development plan that shockingly starved millions of inhabitants in local villages --effecting mass genocide-- and how this was assisted to be hidden by certain self-serving (dishonest) international factions. This work deserves to be seen as one of only a few, that cast an important spotlight on shameful acts against humanity, in the name of Communism. It also gives new understanding of why today’s Ukraine won’t submit to any form of Russian rule.
Places In The Heart – Takes Its Place Among the Better Entries of the 80s This uncommon film offers a thinking man’s look at life in the Deep South --from both sides of the color bar-- It’s different because it attempts to show the good and bad from several viewpoints. OK, perhaps it might be said there’s a little too much time spent on the Sisters affair, but everything else is special. Performances are impressive, especially Sally Field and her immediate main co-stars. An important contribution to its success must be attributed to highly regarded Spanish cinematographer Nestor Almendros (Days Of Heaven ’78) who lovingly captures natural sweeping vistas, even when they are being earnt with blood sweat, and tears. But it's Robert (Kramer V/S Kramer ’79) Benton’s thoughtful script and direction that breaths believable life into these hard working characters – amid recollections of his own youth. Life is hard for these farmers in the backwoods of Waxahachie Texas during the 1935 depression, especially when personal tragedy strikes early in the story. John Kandor (Cabaret ’66) creates an original score comprising several standards and traditional pieces, setting the era nicely. This highly Awarded picture (2 Academy’s & 5 nominations) probably wouldn’t get more than a passing look-in among today’s mega budget-comic book Hollywood, but was certainly a breath of fresh air in 1984. Sally Field seems to have had a poor self-image judging from her curious and oft mocked acceptance speech but certainly worked hard and deserved her honors, as she did for her earlier ‘Norma Rae’ in ‘79. For those that enjoy slice-of-life dramas about times past, this should still prove interesting. Benton’s beguiling choice for ending his story certainly makes for a solid examination of life’s more enigmatic outcomes.
The Lobster – Or Is It a Lame Duck? Perhaps the main things to know about this movie are; it’s co-written, produced, and directed by Yorgos Lanthimos and liked by people who seem to think they must be good judges because they like movies that most don’t. As with “The Killing Of A Sacred Deer” this is yet another of those murky, semi-serious works that tries so hard to be ‘different’ that it stumbles over itself, falling flat on its own pretensions. Lanthimos tends to be trapped in his desire to be the new Kubrick, with his constant obsession for human emotional detachment – also for scenes that run longer than necessary to establish their purpose. It’s a minor point, but it tended to appear that because of obvious budget restraints, this ‘futuristic dystopian’ comment on human relationships takes place in locations that are either obviously present-day or perhaps too old to convey their intended era. Dialogue and many ideas are so outlandish the interesting cast - often seem to give the impression of wondering what they are supposed to do next. So much in-depth comment might have been achieved within this ‘satire’ on failed human relationships, but Lanthimos and his writers tend to be happy with simply using dumbed-down, crude sensationalistic dialog and situations, to replace the lack of human expression. Attempts at satirical comedy are mainly achieved through heavy-handed, sadistic, or ugly cruelty --to both humans and animals-- cheapening the final outcomes. The whole thing then ambles on for so long, that any vague interest suffocates under its own self-idolizing over-indulgence. Strictly for the festival crowds or those that might feel superior liking subjects that disinterest (or repel) others.
The Master – Is In Need Of A Master It’s become trendy to make movies about subjects that go all out to either shock and offend or challenge the viewer to stay awake to see if they add up to anything worthwhile – And this movie-maker has settled in to provide it all. Writer, producer, director, Paul Thomas Anderson fits well into Harvey Weinstein’s formula of movie perversion. If you've ever wondered what a movie might be like that's written and directed by a self-confessed cocaine user, under-aged pornography addict, as well as being, Quote; “my favorite filmmaker copycat” - then this could be getting close to realizing your dream (perhaps it might also sadly sum up cinema today along with certain audiences) It doesn’t really matter if Anderson based his screen story on the life of Scientology’s Ron L Hubbard, as some have claimed, for the whole exercise depends on whatever the viewer is prepared to make of it. Here we have a story where the ‘master’ has become ‘infatuated’ (as some interpret it) with one of life’s deranged social psychopaths - Why, is only hinted at and never explained, leading to a rather ambiguous dead end. On the way to establish what the ‘masters’ message might be, the movie-maker indulges in his trademark perversions, illicit boozy concoctions made up of lighter fluid, photo fixer chemicals, Paint Thinner, alcohol mixers, and whatever else takes his fancy - gratuitous female full frontal nudity (for no valid reason to the story) even grotty public ****, all presented in assorted unresolved violent actions, or outlandish situations. This invites over the top praise from the festival crowd and critics who salivate at every vulgar turn as if they have discovered a new anti-hero. Some of these critics even admit to watching the film several times and still not understanding what it’s about (tells us much).
Some even claim Anderson as the new Orson Welles, and looking back on that career, after ‘Kane’, how much else did Welles ever produce that was finished or successful? It should also be noted; for ‘Kane’, the studio supplied Welles with some of the industry’s top professionals to help him over the line - from there, it was all downhill. Those that like to lay claim to understanding the meanings within these ambiguous grotty works, often argue that anyone who doesn’t appreciate them, is only capable of understanding simple action fare. How wrong they are - the fact these movies rarely make a return on their costs - should speak volumes about how unsupported by a discerning public they are. Performances are powerful but sometimes come across as actor abuse; I could imagine Mr. Hoffman and co might have needed respite care after these grueling sessions. Also, the hard-working Mr. Phoenix’s verbal delivery, unfortunately, is too often unable to be understood. The best aspect to shine through might be the Cinematographer Mihai Malaimare Jr, shooting on 65mm film -again for no truly good reason- as this in turn is mostly wasted on many internal locations. Summary; For a limited audience or perhaps, for health’s sake, keep this out of your head.
