The Last Resort


Back in the day, the residents of South Beach really knew how to have a good time.

(2018) Documentary (Kino Lorber) Gary Monroe, Ellen Sweet Moss, Susan Gladstone, Kelly Reichardt, Mitchell Kaplan, Edna Buchanan, Stan Hughes, Denise Bibro. Directed by Dennis Scholl and Kareem Tabsch

 

In the years after World War II, the city of Miami went through what would have to be termed a major renaissance. The beautiful beaches, warm weather and the presence of brand spanking new air-conditioned hotels became irresistible to those from the Northeast who endured harsh winters. Many of them, close to retirement age, decided that Miami would be a fine place to live. There were plenty of old art deco hotels in the South Beach area that had been converted to apartments; rents were dirt cheap. South Beach became a largely Jewish community, termed by residents as a stetl, a small but vibrant settlement.

Andy Sweet was a Miami native, the son of a prominent Miami judge whose family had helped develop the big beach side hotels that brought in a vibrant nightlife (Miami was the second home of the Rat Pack and most of the big names in Vegas played there regularly. Jackie Gleason hosted a variety show from there back in the day.

Along with his good friend Gary Monroe, the two young photographers set out to capture the South Beach community. Most of the residents were getting on in age; many of them were Holocaust survivors. Dubbed the Miami Beach Project, Sweet and Monroe proposed a ten year involvement, recording the residents and places that made South Beach so unique.

The two couldn’t have had more different styles. Monroe preferred black and white as a medium; his pictures were largely posed and had a more somber quality to them. Sweet preferred a much more spontaneous approach; his photos nearly exploded with color capturing not only the moment but the personalities of the people in them. Although many of the subjects posed for Sweet, he managed to get a more casual look as if capturing them in the act of being themselves.

Sweet wouldn’t live to see the project through to completion. A mere five years in to the project, Sweet was brutally murdered in 1982 at the age of 28, found stabbed 29 times in his apartment in what was conjectured to have been a drug deal gone terribly wrong. Miami was already changing drastically when Sweet died; a huge influx of Latin (mainly Cuban) immigrants began to change the culture of Miami and on the flip side, became the center of the cocaine trade at about the same time leading to an exponential increase in violence. Although Monroe went on to complete the project alone, by the time he did most of the Jewish residents were already gone, having moved to places like Fort Lauderdale and Boynton Beach where rents were more reasonable. These days South Beach is the center for nightlife in Miami, where the young and famous go to be seen.

While there are plenty of talking head interviews with Monroe and Sweet’s sister Ellen as well as a few people who knew him or of him (director Kelly Reichardt is one) which generally speaking can be terribly irritating, it is the photographs that Sweet took that takes center stage. They very nearly didn’t.

After Sweet’s death, his family was too distraught to even look at his photographs and put his negatives in storage. When Monroe broached the subject of putting together a retrospective of his partner’s work only three months after Sweet’s death, his family was infuriated and this led to an estrangement between Monroe and Sweet’s family that lasted for decades. In the meantime, the storage company charged with keeping Sweet’s negatives inexplicably lost them during a move. They have to this day not been recovered.

Fortunately, his sister’s partner Stan Hughes found several boxes of work prints while emptying a family storage unit. Hughes is something of a digital photography expert and although the prints were badly faded with time, he was able to start the restoration process, restoring the pictures to their original color vibrancy.

]The movie is not only a pictorial history of the evolution of South Beach but also a love letter to a man whose career was cut far too short. His work speaks for itself and we are fortunate to have the opportunity to see them. The pictures may sometimes have resembled vacation snapshots of happy seniors dancing, flirting, sunning themselves or porch-sitting but every one of them captured so much more than a moment.

REASONS TO SEE: The photographs really have character. A very interesting chronicle of the evolution of Miami’s South Beach.
REASONS TO AVOID: This is definitely a niche film.
FAMILY VALUES: There is some mild profanity.
TRIVIAL PURSUIT: Sweet did a series of city government employees shortly before his death. One of the subjects turned out to be the police detective who would investigate his murder.
CRITICAL MASS: As of 2/16/19: Rotten Tomatoes: 100% positive reviews: Metacritic: 74/100.
COMPARISON SHOPPING: Smash His Camera
FINAL RATING: 7/10
NEXT:
Patrick

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Hunter (2018)


Despite all my rage I am still just a rat in a cage.

(2018) Horror (Random Media) Jason Kellerman, Rachel Cerda, Leigh Foster, Ryan Heindl, Nick Searcy, Beau Forbes, Adria Dawn, Bill Bannon, Susan Monts-Bologna, Andrew Gebhart, Lynda Shadrake, Ann Joseph, Leah Uteg, Kiley Moore, Darren Stephens, Ryan Kitley, Renee Sebby, Riley Sebby, Shon McGregory, Claudine Tambuatco. Directed by David Tarleton

 

Chicago has been a violent place since the Jazz Age. These days it’s a poster child for urban gang violence and murder. Still, the Windy City has a special quality all its own, if you don’t look too closely into the shadows.

Hunter (Kellerman) was at one time a feared MMA fighter. He was absolutely devoted to his mother (Shadrake) and little sister (Uteg). All that is shattered when they are killed in a home invasion. Only Hunter survives and he carries with him images of horror from that night that haunt him non-stop.

He is reduced to living on the streets of Chicago in the dead of winter. Starving and cold, he hears about a shelter from his only friend, Crazy Sybil (Dawn) and in near desperation he goes to find a warm bed, hot food and maybe even a shower. However, the price for staying is that he must talk to a therapist, in this case named Danni (Cerda). The problem is, Hunter isn’t interested in talking. He’s just interested in surviving and so Cerda has to find a way to break down his walls.

Those walls are up for a reason. It turns out that the gang that killed his sister and mother are still out there and still murdering. Hunter knows their secret and may be the only person who can stop them, but Hunter isn’t sure whether they are real or figments of his imagination. Spoiler alert: they are very real. In the meantime Danni and Hunter have crossed a line into romance which now makes her a target.

This actually has a pretty nifty concept, one I can’t discuss completely without spoiling the film. Suffice to say that revealing Hunter’s last name would be a very big clue. It also should be noted that the way in which Chicago is utilized as a setting lends itself to the type of movie this actually is, although in a much different way than fans of the genre are unused to. What genre? I can only say it’s a subset of the horror genre and leave it there.

Kellerman doesn’t look like your average horror or action hero, nor does he look like the average MMA champion. When he hasn’t been “homeless-ed” up with a raggedy beard, scruffy clothes and weathered skin, he resembles more the happy-go-lucky Jewish boy next door in a romantic comedy albeit one with Hebrew calligraphy tattooed to his chest. Nonetheless he does a pretty strong job in the lead and has a big future ahead of him given the right breaks.

Unfortunately, Tarleton opted to use a myriad of jump cuts perhaps in an effort to give us an idea of Hunter’s confusion and torment. If that was the purpose (and I have no definite idea that it was only that it’s the only explanation that makes sense) he was unsuccessful. After watching these cuts for only 20 minutes I began to get a headache and had to shut the movie off for a bit. That’s never a good sign.

Tarleton is more successful at building up to the climax, and he does so masterfully. We get a sense that Hunter is unreliable as a narrator, doubting even his own senses. That works really well in the course of the film giving us an is-he-crazy-or-is-he-not subtext to work with. In many ways the movie has a lot of inventive qualities and if the editing had been less frenetic this actually could have been a superior film. I give the filmmakers props for giving us a movie that has a lot of potential and viewers who are able to handle a lot of rapid-fire images perhaps better than I could may actually end up enjoying this immensely. Those who are more sensitive (like myself apparently) may find this to be more of an ordeal than a pleasant experience though. If that’s the case and you really are intrigued, I suggest having plenty of aspirin on hand.

REASONS TO SEE: The atmosphere is suitably Gothic, something Chicago lends itself to well.
REASONS TO AVOID: The filmmakers have an over reliance on jump cuts which tends to be headache-inducing after a while.
FAMILY VALUES: There’s a fair amount of violence and gore, some profanity as well as a bit of sexual content.
TRIVIAL PURSUIT:
Schatz won an Emmy for her work on the documentary Through a Child’s Eyes: September 11, 2001.
BEYOND THE THEATERS: Amazon, Google Play, iTunes, Radial
CRITICAL MASS: As of 2/15/19: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Thirst
FINAL RATING: 5/10
NEXT:
The Last Resort