Inside the Rain


Ben is tired of explaining that it’s NOT the Coronavirus.

(2019) Dramedy (Act 13Aaron Fisher, Rosie Perez, Eric Roberts, Ellen Toland, Catherine Curtin, Paul Schulze, Donnell Rawlings, Rita Raider, Natalie Carter, Katie Claire McGrath, Jesse Means, Jaz Goodreau, Ryan Donowho, Kerri Sohn, Thom Niemann, Alex Emanuel, Christina Toth, Jacob Wheeler, Chelsea Watts, Miriam Morales, Jowin Marie Batoon. Directed by Aaron Fisher

 

I always feel a bit guilty reviewing movies that are autobiographical. It’s like reviewing somebody’s life; “Sorry, your life isn’t interesting enough. Your life could have used a few more car chases.”

There are no car chases in Aaron Fisher’s life. Here he plays Ben Glass, a young man who has an amazing array of mental issues, including ADHD, personality disorder, and the crown jewel, bipolar disorder. He takes a staggering array of drugs to essentially function. He is under the care of brash New York psychiatrist Dr. Holloway (Perez) who thinks she can make a significant difference in his life in only six weeks.

While at a party, the often-socially awkward Ben hooks up with Daisy (McGrath), a comely co-ed but when she makes it clear that the one-night stand is just that, he goes into a downward spiral that leads to a suicide attempt. While he is welcomed back to the University following what is, judging from the reaction of his Mom (Curtin) and Dad (Schulze) not the first time he’s tried it, Daisy stops by his dorm room just as Ben is organizing his array of pills into a weekly pill container. She mistakes this for a preparation for another attempt and the police are called. The university, having a strict two-strike policy, moves to expel Ben.

Ben feels the injustice of the thing and won’t go down without a fight, despite advice from his parents and shrink to do just that. Ben plans to appeal and when Dad won’t provide a lawyer, Ben hits upon the idea of filming a dramatic recreation of events which he feels sure will convince the board of appeals of his innocence and get him reinstated immediately. He even has a female lead – Emma (Toland), an escort/stripper/sushi girl who he grows sweet on after rescuing her from some boorish Wall Street types. If Ben’s parents and therapist thought fighting the expulsion was a bad idea, wait until they get a load of this idea…

I’m not sure how much of the material here is fictional and how much is based on actual incidents in Fisher’s life; certainly there are elements of both in the movie. There are times it’s hard to watch Fisher self-destruct as he goes off his meds; it gives viewers a hint of what the families of those with severe mood changes can go through. Amazingly, Fisher remains for the most part sympathetic throughout, although Ben can be profoundly unlikable at times. How willing you are to tolerate those phases are going to really inform how much you like the movie. Some folks simply won’t have the patience for it.

I can’t give this an unqualified recommendation though; at times this feels very much like Fisher made this for himself and without regard for a potential audience. Some of the humor doesn’t exactly hit the target squarely, although there are some really genuinely funny bits here.

In some ways this is a frustrating movie; there is tons of potential here but the missteps and perhaps the ego of the director keep it out of our grasp. Leaving a film feeling frustrated is never a good thing and that’s essentially why I didn’t give the movie higher marks. That doesn’t mean I don’t respect what was being done here.

REASONS TO SEE: A nifty surf guitar soundtrack.
REASONS TO AVOID: Spending time with Ben can be exhausting.
FAMILY VALUES: There is profanity, sex, drug use, and violence.
TRIVIAL PURSUIT: Former welterweight world champion Zab Judah makes a cameo as one of Dr. Holloway’s patients, much to the delight of boxing fan Perez who wasn’t aware he would be on set.
CRITICAL MASS: As of 3/23/20: Rotten Tomatoes: 82% positive reviews, Metacritic: 51/100
COMPARISON SHOPPING: Aspie Seeks Love
FINAL RATING: 5.5/10
NEXT:
Ema

Los Lobos


21st century latchkey kids.

(2019) Drama (Animal de Luz) Martha Reyes Arias, Maximiliano Nájar Márquez, Leonardo Nájar Márquez, Cici Lau, Johnson T. Lau, Kevin Medina, Josiah Grado, Marvin Ramirez, Alejandro Banteah, Edwin Ramirez, Aylin Payen, Shacty Diaz, Maria Teresa Herrera, Amy Puente, Robert Louder, Celine R. Lopez, Jeanette M.. Loera. Directed by Samuel Kishi

Often, particularly these days, we see movies about immigrants from their direct point of view. If there are children, they are either separated from their parents or essentially secondary aspects of the story. We rarely see the immigrants’ story from the point of view of their children.

Lucia (Reyes-Arias) has come to Albuquerque from an unnamed Latin American country with her two children, Max (M. Nájar Márquez) and his little brother Leo (L. Nájar Márquez) in tow. They follow her as she looks for a place to stay, finally settling on a ratty furnished apartment where the Mrs. Chang (C. Lau), the landlady, doesn’t require references. The kids are mollified because their mother promises that they will go to Disney.

>However, she needs to work and she gets a pair of jobs that keeps her out of the house all day. She gives the kids a series of rules to follow, taped English lessons that they can listen to on a battered cassette player, and hope for the best.

Kids being kids, they get into all sorts of mischief, drawing pictures in crayon on the walls and generally making a mess for their exhausted mother to pick up when she finally gets home from work. Mostly, though, they get bored, the drawings of their alter egos the “ninja wolves” decorating the walls and what paper they can find (and there are some charming animations based on those drawings as well).

This is something of a personal film for Kishi, who also wrote the film who experienced very similar circumstances as a five-year-old child. His kids-eye view is helped by some surprisingly strong performances by the two child actors playing Max and Leo. Their performance is completely natural and they seem to relate very well to Arias as a mother-figure.

Kids being kids can be a double-edged sword; while it does feel authentic, there are times where it feels like you’re babysitting while unable to speak or communicate in any way with your charges. All you can do is watch them do their thing and your tolerance for this will depend on how tolerant you are at watching other people’s kids.

Still, this is a decidedly different viewpoint and one which deserves to be seen (and heard). I also found the ending to be enchanting and magical, although be cautioned that there are some moments which are far from either. Still, this is a solid and laudable effort that is likely to be making the rouds on the Festival circuit once things return to normal.

REASONS TO SEE: Mostly, kids being kids.
REASONS TO AVOID: There are stretches where it feels like we’re watching a nanny-cam.
FAMILY VALUES: The film is fairly family-friendly and might give kids the opportunity to look at kids from other cultures and how they react to the United States (or children of their own culture).
TRIVIAL PURSUIT: Max and Leo are played by real-life brothers who had no previous acting experience.
CRITICAL MASS: As of 3/14/20: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: The Florida Project
FINAL RATING: 6.5/10
NEXT:
Inside the Rain