About carlosdev

I am a graduate of Loyola Marymount University, a former rock and film critic and have also worked in the computer and financial industries. This is an outgrowth of our podcast Friday Night Movie Bunch which is currently on hiatus.

See Know Evil


New York attitude personified.

(2018) Documentary (Made to Measure) Davide Sorrenti, Milla Jovovich, Jamie King, Francesa Sorrenti, Chris Brenner, Richard Paradiscio, Mario Sorrenti, Alex Burns, Long Nguyen, David Lipman, Vanina Sorrenti, Justin Salguero, Mutale Kanyanta, Lola Schnabel, Anthony Ray, Steve Sutton, Shaun Regreto, Havana Laffitte, Danielle Zainich, Jade Barreau, Victoria Bartlett.  Directed by Charlie Curran

Some may remember the “heroin chic” fashion photography of the 90s. The ones where Kate Moss, Jamie King and other painfully thin looking models were made to look sunken-eyed and despondent, often photographed in grimy, dingy places that could well double as shooting galleries, often with vacant stares and other facial expressions associated with heroin use.

One photographer who was known for pioneering this style was Davide Sorrenti. A street-tough New York City kid (by way of Italy where he was born), he ran with the SKE crew tagging, smoking joints and skateboarding. While he took great pains to look gangsta-tough, his image was often sabotaged by his sweet nature. Like his older brother Mario, he discovered photography was something he had a talent for as well as a love for.

Although he would eventually make a living as a fashion photographer, he himself preferred a documentary-style realism that would inform his style in his chosen vocation. Starting out taking candid pictures of his crew, he moved on to taking pictures of models and the pretty girls he seemed to attract like moths to a flame.

In fact, many of his friends from that era characterize him as a shining personality whose charm endeared him to nearly everyone he met but he had a secret; he had been born with beta thalassemia, a blood disease that is terminal. He wasn’t expected to make it out of infancy but he beat the odds and grew up to be a young man. In doing so, he went through his life knowing that his time was more limited than others and that what he wanted to do with his life he needed to do immediately. It gave him a joie de vivre that was at once attractive and dangerous.
His mother blames King, his girlfriend at the time, for his eventual heroin addiction. Heroin became an “in” drug largely due to the grunge movement in music but also from edgy and dark independent films like Trainspotting and My Own Private Idaho. Ad campaigns for brands like Calvin Klein and magazines like Ray Gun and Interview further seemed to glamorize the drug.

Davide eventually died at age 20 although not from a drug overdose – renal failure was the culprit. While autopsy results were unclear as to the role both his disease and his drug use played in his death, because he was such a high profile member of the style he was rightly or wrongly the poster child for the backlash against it. President Bill Clinton at the time spoke out against it and the fashion industry as a whole turned their backs on the style and went back to using more traditional models and photographic styles in promoting fashion once again.

Curran’s documentary doesn’t pull any punches; it doesn’t shy away from the drug use aspect of his life nor does it excuse it. While much of the focus is on Sorrenti’s fight against his disease and the toll it took on the young boy, it also celebrates his courage in overcoming it to a degree. There seems to be two schools of thought from those who knew him; that his success came in spite of his illness, and those who believed that his success came because of it. That Sorrenti went to bed every night hooked up to a transfuser in order to survive day to day tells you the kind of life he led. The movie is anything but hagiographic though – Davide is depicted as occasionally being grumpy or out of sorts and who an blame him.

The problem with the movie is it’s devotion to a 90’s-like style, with random clips and images bombarding the screen in between home movies of Davide and talking head interviews of those who knew him or of him. The practice becomes annoying and then irritating as it is used constantly throughout the movie. It detracts from the story unfolding in front of you and seems to contradict the anti-drug message that his mom Francesca seems to be trying to send.

Davide had a lot of swagger – he had to in order to get where he did – which might be off-putting to some. He also had a whole lot of New York street kid in him from the white rap fashion to the antipathy for authority. His life was all too short and was always intended to be but perhaps the knowledge of his mortality helped him blaze all the brighter. While rightly or wrongly his contributions to heroin chic have made him something of a controversial figure, if you look at the images carefully as a whole he really seemed to be more interested in capturing what was real rather than what was manufactured. It wasn’t always pretty but at least it had the virtue of being honest.

REASONS TO GO: The portrait of Sorrenti is well-balanced.
REASONS TO STAY: The use of random images is overdone and annoying.
FAMILY VALUES: There is profanity as well as drug references.
TRIVIAL PURSUIT:  The Sorrenti family became known as “the Corleones of fashion photography” because so many of them became important in the industry.
CRITICAL MASS: As of 11/20/18: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Larger than Life: The Kevyn Aucoin Story
FINAL RATING: 6/10
NEXT:
Trust Machine: The Story of Blockchain

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Jonathan


You’re never alone when you’re a schizophrenic.

(2018) Science Fiction (Well Go USA) Ansel Elgort, Suki Waterhouse, Patricia Clarkson, Matt Bomer, Douglas Hodge, Souleymane Sy Savane, Shunori Ramanathan, Joe Egender, Ian Unterman, Alok Tewari, Jeff Kim, Alaska M. McFadden, Ramses Torres, Teo Rapp-Olsson, Julie Mickelson.  Directed by Bill Oliver

 

Most people have facets to their personalities. They aren’t just one thing; not just a party animal, not just a career person, not just a mama’s boy (or girl). We are most of us several different people whose varied personalities make up our one personality. What would it be like if the different personality traits turned out to be different and separate consciousnesses, battling one another for control?

That is the situation Jonathan (Elgort) is in. By day he is a ramrod-straight, obsessive draftsman for an architectural firm where he is just on the cusp of breaking into an important role. By night, he is a laid-back physical guy who drinks, hangs out with friends and is messy. Essentially, Jonathan and his other self John are twin brothers inhabiting the same body. They have been cared for nearly all their lives by the wise and maternal Dr. Mina Nariman (Clarkson) who often acts as a kind of mediator between the two brothers.

There are rules they must follow, mainly because they don’t want their secret discovered although to be honest I was never clear as to why they couldn’t let anybody know what they were going through. The boys each dictate a video diary which the other one reads when they “wake up” before recording their own diary when they go “to sleep.” That way, both brothers are prepared for the reactions neighbors and acquaintances might have for them.

The problems begin when John falls for a pretty barmaid/cocktail waitress named Elena (Waterhouse) and doesn’t tell Jonathan about it. When Jonathan finds clues that there’s something that may be going on, he hires a private investigator (Bomer) to figure out what’s going on. When he discovers the truth, he is furious and insists that John end the relationship. John refuses and so Jonathan takes it upon himself to do it for him by telling her the truth. She naturally thinks John is schizophrenic and breaks things up, which causes a rift between the brothers, a rift that only deepens when Jonathan finds himself falling in love with Elena himself.

The brothers’ 12 hour control “shifts” (John gets 7pm through 7am to be conscious, Jonathan from 7am to 7pm) is regulated by a doohickey which is where the science fiction element comes in. While this is set in a recognizable present day, the cold and sterile environs of the office Jonathan works in, the apartment he lives in, and the doctor’s office he visits weekly give an almost dystopian THX-1138 feel to the movie. In fact, the visuals are so antiseptic at times the movie feels nearly colorless and emotion-free. That’s a reflection of Jonathan’s cold and calculating personality, and it is through his eyes we primarily see the events of the movie.

Elgort has mainly been cast in teen heartthrob roles although from time to time he has shown glimpses of raw talent. This is his best performance – or performances – to date. The two twins are definitely separate personalities and Elgort looks comfortable and believable in both of them. Waterhouse has to react to both halves of the Jonathan whole and she does so admirably although fairly colorlessly. She isn’t given much personality to work with and mainly exists in the film as a fulcrum to spark the dissension between the two personalities.

For the most part the script is smart, refusing to take shortcuts and in fact nicely mapping out the rules of the world Jonathan exists in. Yes, there may be a sci-fi doohickey involved but it’s more of a MacGuffin than a focal point. That keeps the tech from getting too distracting.

This is definitely aimed at those who prefer thought-provoking science fiction over space operas. Critic Warren Cantrell of The Playlist even discusses the Freudian implications of the two separate Johns (you can read his analysis here) which is a fascinating interpretation and not wrong at all. As things start to break down for Jonathan, the color palate for the film grows more diverse – more food for thought.

In short (too late), this is a well-developed well-considered movie of the type we don’t get enough of these days. It’s a solid feature debut for Oliver and while some may find the sterility of Jonathan a bit off-putting, those who like to exercise their grey matter may find this film a decent workout.

REASONS TO GO: Elgort pulls off a difficult task. The script is intelligent and well-thought out.
REASONS TO STAY: Some may find this too sterile and intellectual.
FAMILY VALUES: There is a brief picture of blisters that may be a bit disturbing for the squeamish.
TRIVIAL PURSUIT:  This is the third time Elgort and Waterhouse have appeared together – they were also both in Insurgent and Billionaire Boys Club.
BEYOND THE THEATER: Amazon, Fandango Now, Fios, Google Play, iTunes, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 11/19/18: Rotten Tomatoes: 65% positive reviews. Metacritic: 62/100.
COMPARISON SHOPPING: Daniel
FINAL RATING: 7/10
NEXT:
See Know Evil

To Kid or Not to Kid


Maxine Trump and Megan Turner share a moment.

(2018) Documentary (Helpman) Maxine Trump, Megan Turner, Josh Granger, Karen Malone Wright, Marcia Drut-Davis, Jane Kevers, Douglas Stein, Mandy Harvey, Tim Belcher, Victoria Elder, Juniper Melnicoff, Andy Williams, Lesley Melnicoff, Leon Wojciechowski, Dutch Yardley, Cynthia Yardley, Dawn Bowker, Bryan Caplan, Dina Ibarra. Directed by Maxine Trump

Motherhood is a central facet of a woman’s life. Biological imperatives aside, women have been socially assigned a nurturing role, one traditionally associated with child-rearing. For most women, having children is a central part of their existence. It was what they were born to do.

But that isn’t the case for all women. Recent studies have shown that one out of five women over the age of forty are childless. Some of that percentage has to do with infertility, but for many women, children just aren’t a part of the picture. Having babies may not fit in with career and life goals.

As filmmaker Maxine Trump (no relation to the President) discovered, there is a stigma attached to being childless when you’re a woman, particularly once you get married. There’s always family pressure: “When are you going to have a baby,” “When are you going to make me a grandma,” when when when. For Maxine, she wasn’t sure what the answer to that question was. That answer might truly turn out to be “never.”

Being a filmmaker, Maxine decided to turn the camera on herself as she went in search of an answer to that very important question – whether or not she wanted to have kids. In Maxine’s case, there were some compelling arguments against; surgeries when she had been younger had left doctors warning her that it was likely that she wouldn’t be able to bring a baby to term initially and that she would have to suffer through several miscarriages before successfully giving birth, which alone would be enough to give anybody pause.

Maxine also values her freedom to pursue her career, and being a filmmaker doesn’t mix terribly well with raising children as she is often called upon to shoot in all sorts of places around the world, some which you wouldn’t want to take a child to. Pursuing that dream was more a part of her identity as traditional female roles were.

It’s not that Maxine hates kids – she has plenty of nieces, nephews and other children around her and she’s more than happy to be around them. It’s just the drastic change in lifestyle wasn’t one that she wanted to make…but at the same time, there was that biological urge nagging at her, telling her that her clock was ticking ever onward and that her window of opportunity to be a mother was shrinking fast. What would her final decision be?

Well, the answer will be much more obvious to viewers I think than it was to Maxine herself. She dithers for much of the movie, often breaking down into tears which she claims at one point that she doesn’t do but by that time she had already done so several times. The question is clearly one that is eating her alive, not the least of which is that if she should choose to be childless she felt it would cost her friendships and relationships. It had already cost her a close friend who had gotten into an argument with her over whether it was selfish or not to have kids (or not to have them) and the two hadn’t spoken in years because of it.

On the selfishness question, incidentally, I need to weigh in since the question is brought up several times during the movie. It is selfish to have children, of course it is. It is also selfish not to have them. So what? What does it matter? It is selfish to eat because in taking in sustenance we are killing a living thing, be it plant or animal. It is selfish to breathe because we expel carbon dioxide into the atmosphere and in our own small way contribute to global warming. In some things, it is okay to be selfish. We have got to stop apologizing for existing as a culture. It’s okay to be a part of the human race and to want to have kids – or not. It truly isn’t anybody’s business.

This is clearly Maxine’s movie and this is a chronicle of her journey. There are times when her conflict felt a little bit managed in order to give the film some dramatic conflict, but in the end I don’t think that it actually was. There were some points that got pounded away a bit which felt a bit like nagging but perhaps I’m just sensitive to such things.

The movie also follows the quest of 20-something Brit Megan Turner who is attempting to get surgically sterilized. She has no desire to have kids and is concerned that if she continues to be sexually active that she will accidentally get pregnant. There is some resistance from the National Health Service to perform such a surgery without a medical reason; she is continually counseled by doctors to think over her decision since it isn’t reversible once the surgery is performed. At the end of the movie, Megan still awaits the surgery she has been seeking for more than three years.

It’s apparent that the goal for Maxine was to inform other women undergoing the same anguish she herself felt that it is okay to have these needs and to not want to have kids. It doesn’t make her – or they – any less of a woman despite the social backlash. It may be a bit of a primer in places but she does raise valid questions and tries to give valid answers. Not everyone will be able to get past their own ingrained preconceptions about women who choose to be childless and this movie simply won’t work for them. However, for those women out there who are questioning whether or not to have children, this is a good place to start looking for arguments on the side of “not to kid.”

REASONS TO GO: Some valid questions are raised here.
REASONS TO STAY: At times, it felt a bit like it was rehashing territory already covered.
FAMILY VALUES: There is some profanity as well as sexual content.
TRIVIAL PURSUIT: Two years after attending her first Childless by Choice conference in Cleveland, Trump would become a featured speaker at the annual event
CRITICAL MASS: As of 11/19/18: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: The Good Life
FINAL RATING: 6/10
NEXT:
Jonathan

Under the Wire (2018)


Riding a motorcycle through a drainage tunnel is not recommended – unless you’re running for your life.

(2018) Documentary (Abramorama) Paul Conroy, Sean Ryan, Lindsey Pilsum, Marie Colvin, Wa’el, Edith Bouvier, Dr. Mohamed Mohamed, Remi Ochlik, William Daniels, Anderson Cooper, Janine Birkett, Julian Lewis Jones, Ziad Abaza, Nathan Dean Williams, Karine Myriam Lapouble, Anne Wittman. Directed by Christopher Martin

In this dangerous era when even the gathering of news has become politicized and reporters identified by national figures as “enemies of the people,” we need more than ever to remember the heroic nature of some journalists who risk their lives to report the news – and occasionally, give them.

American Marie Colvin remains today regarded as the finest war correspondent of her generation. She often went into places no sane person would willingly go to tell the stories of those who cannot leave – victims of genocide, civil war or governmental terrorism. She is credited with saving the lives of 1,500 people (mostly women and children) in East Timor in 1999, refusing to leave when other journalists fled, shining the light on what might have been an unspeakable act of violence by the Indonesian government who, faced with Colvin’s bulldog-like reporting, eventually backed down.

She lost her eye in 2001 covering the Sri Lankan civil war by a governmental soldier firing a rocket-propelled grenade launcher – despite crying out “Journalist, journalist!” which normally stops soldiers in their tracks. She would later claim that this one knew exactly what he was doing. Thereafter she wore an eyepatch which became something of a trademark for her.

Her frequent collaborator, British photographer Paul Conroy (Colvin by this time was employed by the Sunday Times of London) snuck into Homs, a city in Syria that had borne the brunt of dictator Bashar al-Assad’s genocidal fury as a stronghold for those wishing a democratically elected government in Syria. They were smuggled in via a drainage tunnel by anti-government activists including Wa’el, a translator for the team. The Syrian government to that time was refusing to allow reporters in Homs ostensibly for safety reason, but more likely because they didn’t want anyone to know that they were raining down a terrifying barrage of mortars onto civilian targets.

On the evening of February 22, 2012, the improvised media center was bombarded by explosive shells even as those who remained were planning to leave. Colvin and French photographer Remi Ochlik were killed in the explosion; Conroy and French journalist Edith Bouvier were both gravely wounded. With little in the way of medical supplies, the two journalists desperately needed to get out but things looked pretty hopeless for them.

Martin uses footage shot by Conroy, recreations and other sources to show the last days of Colvin and Conroy’s miraculous escape, as well as interviews with Conroy, Wa’el, Bouvier and journalist William Daniels who was also there, as well as interviews with Colvin’s editor Sean Ryan and colleague and friend Lindsey Pilsum. He also uses some of her television appearances, including her final broadcast from Homs being interviewed by Anderson Cooper on CNN the night before she died. It is likely that the Syrian government forces utilized her satellite phone signal to target the building, although Syria has to this day denied any involvement with Colvin’s death, asserting that it was a homemade terrorist bomb filled with nails that was the cause of the journalists’ death – a claim hotly disputed by Conroy.

We see the sometimes hard to watch footage of broken bodies and explosions bringing rubble onto the heads of those inside; we watch a nurse assisting Dr. Mohamed Mohamed (who remains in Homs today, treating those wounded in government attacks) realize that the baby she is treating is her granddaughter – and then the agony of having to watch the baby die because they don’t have the medical supplies needed to save her. It is these types of story that are Colvin’s legacy.

The movie is raw and sometimes unbearable. This won’t win any prizes for subtlety. At times it may seem a bit hagiographic but at the same time it also reminds us just how dangerous and non-glamorous war correspondence is, Hollywood’s best efforts to the contrary. The film also makes one wonder why the world hasn’t done something about Assad, a cockroach of a human being – well, that’s being perhaps a bit overly nasty to cockroaches – who should have been tried years ago for war crimes against his own people. It also makes anew the President’s claims against the media not credible.

The fact is that we need the media to keep us informed. How otherwise would we know about the genocide in Rwanda, the continuing crisis in Syria, the atrocities around the world that continue to go on year after bloody year. We justifiably salute first responders and the men and women of the military who put their lives on the line to protect our freedom and to save lives. Are reporters like Marie Colvin, Remi Ochlik, William Daniels, Edith Bouvier and Paul Conroy doing any less? Don’t they deserve that kind of respect? This film shows that they do.

REASONS TO GO: This is a true portrait in courage. It is almost like a Hollywood action film in places. Conroy’s account of his escape is absolutely incredible. The images are horrifying and certain to stir some fury at the Syrian regime.
REASONS TO STAY: The depiction of Colvin’s ultimate end is a bit clinical.
FAMILY VALUES: There is profanity and some disturbing images as well as depictions of violence.
TRIVIAL PURSUIT: In 2016 Colvin’s family filed a wrongful death lawsuit against the Syrian government, claiming that they had proof that the attack was ordered by the Syrian military.
CRITICAL MASS: As of 11/17/18: Rotten Tomatoes: 88% positive reviews: Metacritic: 73/100.
COMPARISON SHOPPING: A Private War
FINAL RATING: 10/10
NEXT:
To Kid or Not to Kid

Up and Away (Hodja fra Pjort)


Big people should check for size limits when getting on the ride.

(2018) Animated Feature (The Orchard) Starring the voices of Eoin McCormick, Lucy Carolan, Marcus Lamb, Dermot Magennis, Doireann Ni Chorragain, Gary Cooke, Paul Tylak, Susie Power. Directed by Karsten Kiilerich

 

I suppose in an age of anti-Muslim sentiment in the West that the adventurous tales of ancient Arabia don’t hold as much luster. Great heroes like Aladdin, Ali Baba, Sinbad and Scheherazade were much more in vogue when I was growing up and I still remember being captivated by exotic cities with onion domes, minarets and flying carpets. That kind of magic is the sort the world can still use.

This Danish animated feature from an Oscar-nominated animated short director would seem to have more than a little interest for folks like me even if it is based on a more contemporary story. Hodja is a young boy, the son of a tailor in a small village, who dreams of going on great adventures. A carpet seller and neighbor who sells his father’s rugs happens to have a magic carpet and wants to help Hodja go on adventures with his best friend – a goat. The friendly but sad carpet seller wants only one thing in return – for Hodja to find “the diamond,” which turns out to be his granddaughter that he left behind when he fled from an evil Sultan who lives in the big city of Pjort.

Hodja and his goat fly off to Pjort to find their adventure but instead find a city on the brink of starvation, where street kids find whatever scraps they can in exchange for shelter. The miserly owner of the shelter, known as The Rat to one and all because of his rodent-like face, soon discovers that Hodja is in the possession of a magic carpet and knows the Sultan will make him a general in his army in exchange for the carpet. So he steals it from Hodja, leaving the boy stranded in the city. He must use his wits to get his borrowed carpet back or never see his family again.

The animation isn’t half-bad with some beautiful vistas of a city right out of Arabian Nights. It also isn’t half good, as many of the characters look like cartoons. Unfortunately, this is no Aladdin although the setting is similar. The characters are all given exaggerated features and look decidedly like cartoons. That might be fine for Saturday mornings, the 1980s or the Cartoon Network but kids today are a little bit more sophisticated except for maybe the very young.

Making things worse is that the story is very predictable (you’ll be able to figure out who the granddaughter is without breaking a sweat) and the characters very cliché – the disapproving dad, the headstrong girl, the greedy Sultan and the sneaky Rat – and none of them are developed much beyond that. I get that animated features intended for kids don’t necessarily have to meet high standards of character development but come on! I guess these cliché characters might be new to the very young.

I suspect in fact that this is meant for younger tykes – one gets a distinct impression that the filmmakers are dumbing down the proceedings which is a common failing with animated features. You certainly don’t get the impression that there is enough respect here to understand that kids actually appreciate a better quality story than one that just goes through the motions. Even the least discerning kids will likely get bored with this quickly.

REASONS TO GO: There are some nice animated sequences. The music is nice.
REASONS TO STAY: The story is predictable and the characters are all cliché. This is pretty dumbed down for the kids. The ending is just awful.
FAMILY VALUES: There is a little bit of rude humor.
TRIVIAL PURSUIT: Kiilerich was nominated for an Oscar for Best Animated Short in 1997 for When Life Departs.
BEYOND THE THEATERS: Amazon, iTunes, Vudu
CRITICAL MASS: As of 11/16/18: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Prince of Persia: The Sands of Time
FINAL RATING: 4/10
NEXT:
Under the Wire

New Releases for the Week of November 16, 2018


FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD

(Warner Brothers) Eddie Redmayne, Johnny Depp, Jude Law, Katherine Waterston, Ezra Miller, Dan Fogler, Zoë Kravitz, Carmen Ejogo. Directed by David Yates

When outlaw wizard Grindelwald escapes custody, he plans to create an army of wizards to make war on the world of Muggles. Standing in his way are Newt Scamander, No-Mag Jacob Kowalsky, Tina Goldstein and an instructor at Hogwart’s by the name of Albus Dumbledore.

See the trailer and video featurettes here
For more on the movie this is the website

Release Formats: Standard, 3D, 4DX, DBOX, DBOX 3D, Dolby, IMAX, RPX, RPX 3D, XD
Genre: Fantasy
Now Playing: Wide Release

Rating: PG-13 (for some sequences of fantasy action)

A Private War

(Aviron) Rosamund Pike, Tom Hollander, Jamie Dornan, Stanley Tucci. This is the story of Marie Colvin, one of the most respected and admired war correspondents of the 21st century thus far, a woman whose compassion and passion entwined to tell the story of those most affected by war – those caught in the middle. Colvin would go to places few other journalists would dare to tread, including a Syrian town called Homs where she would find a story that would eventually define her.

See the trailer and video featurettes here
For more on the movie this is the website

Release Formats: Standard
Genre: True Life Drama
Now Playing: Wide Release

Rating: R (for disturbing images, language throughout, and brief sexuality/nudity)

Boy Erased

(Focus) Lucas Hedges, Nicole Kidman, Russell Crowe, Madelyn Cline. After a Baptist pastor’s son is outed, the community leader in a small conservative town feels that the boy’s only hope of salvation is conversion therapy. Based on a gripping true story, the young man fights to establish his own identity in an environment where he’s told that being the person that he is becoming is a sin.

See the trailer, clips, interviews, video featurettes and B-roll video here
For more on the movie this is the website

Release Formats: Standard
Genre: True Life Drama
Now Playing: AMC Altamonte Springs, Cinemark Artegon Marketplace, Cobb Plaza Cinema Café, Regal Winter Springs Village, Rialto Spanish Springs Square

Rating: R (for sexual content including an assault, some language and brief drug use)

Instant Family

(Paramount) Mark Wahlberg, Rose Byrne, Octavia Spencer, Margo Martindale. A couple, exploring foster care adoption, discovers three siblings that they decide to take on. Going from no children to three without any parenting experience is a daunting task at best but throw in a rebellious 15-year-old girl into the mix and they are in over their heads. This is based on writer-director Sean Anders’ own experiences.

See the trailer here
For more on the movie this is the website

Release Formats: Standard
Genre: Comedy
Now Playing: Wide Release

Rating: PG-13 (for thematic elements, sexual material, language and some drug references)

The Public Image is Rotten

(Abramorama) John Lydon, Jah Wobble, Martin Atkins, Lu Edmonds. Johnny Rotten was once the face of punk rock until his band, the Sex Pistols, imploded. Lawsuits and legal chicanery kept him from moving on with his stage name so he adopted the name he was born with and founded Public Image Ltd., a band decidedly different than the one he left. Forty years later it is still a band. This was recently reviewed here on Cinema365 (see link below) and may be the best music documentary you attend this year.

See the trailer here.
For more on the movie this is the website

Release Formats: Standard
Genre: Music Documentary
Now Playing: Enzian Theater (Monday only)

Rating: NR

Widows

(20th Century Fox) Viola Davis, Liam Neeson, Michelle Rodriguez, Elizabeth Debicki. When their criminal husbands are killed during a job, their widows are left with the debt their late spouses incurred with people you really don’t want to owe money to. Resolved to get out of the situation, they decide to pull off the heist their husbands couldn’t. This is Oscar winning director Steve McQueen’s first film since his masterwork 12 Years a Slave.

See the trailer, clips, clips, interviews, video featurettes and B-roll video here
For more on the movie this is the website

Release Formats: Standard
Genre: Crime Drama
Now Playing: Wide Release

Rating: R (for violence, language throughout, and some sexual content/nudity)

ALSO OPENING IN ORLANDO/DAYTONA:

Amar Akbar Anthony
The Clovehitch Killer
Speed Kills
Taxiwaala

ALSO OPENING IN MIAMI/FT. LAUDERDALE:

A Sniper’s War
Amar Akbar Anthony
El Angel
The Front Runner
Green Book
Taxiwaala

ALSO OPENING IN TAMPA/ST. PETERSBURG:

55 Steps
Amar Akbar Anthony
The Children Act
Johny Johny Yes Appa
Sarkar
Taxiwaala

ALSO OPENING IN JACKSONVILLE/ST. AUGUSTINE:

Amar Akbar Anthony
Taxiwaala

SCHEDULED FOR REVIEW:

The Children Act
Fantastic Beasts: The Crimes of Grindlewald
The Front Runner
Green Book
Instant Family
The Public Image is Rotten
Widows

FILM FESTIVALS TAKING PLACE IN FLORIDA:

Fort Lauderdale International Film Festival, Fort Lauderdale

3100: Run and Become


One of the beautiful images from the film.

(2018) Documentary (Illumine) Ashprihanal Aalto, Shamita Achenbach-König, Yuri Trostenyuk, Shaun Martin, Gaolo, Rupantar LaRusso, Dohai König, Nirbhasa Magee, Ray “The K” Krolevicz, Jumanda Gakelbone, Sahishnu Szczesiul, Supan Tsekob, Ilgyasu Tervo, Ajari Misunaga, Isomura-san, Tess Thakara, Petra Aalto.  Directed by Sanjay Rawal

 

It is well known that physical exertion can lead to a feeling of well-being. It’s not just the feeling of accomplishment that comes from completing a particularly difficult goal, but also the physical rush of endorphins one gets from such exercises as yoga, weight lifting and running.

Some even say that running can be used as a means of spiritual enlightenment. A particular proponent of that line of thought was Sri Chinmoy, an Indian sprinter, philosopher and running guru. He helped spread the philosophy throughout the world. One of those who picked up on it and ran with it (literally) is Finnish newspaper delivery man Ashprihanal Aalto. Aalto is what is known as an ultra long distance runner – someone who runs races of extraordinary lengths. He has been a dominant force in Chinmoy’s 3100 Mile Self-Transcendence race, running it 13 times and winning it five times, setting the course record in his most recent attempt.

He is 45 now and really has no mountains left to climb when it comes to the race. However his spiritual adviser Ilgyasu Tervo counsels him to give it one last shot – soon he will not have the physical stamina to run the race in the style he is used to. He elects to go to New York for one last run around the block.

That’s literally what the race is; it’s a grueling run taking over the course of 51 days. Runners go as fast and as far as they can each day, finishing only when they reach the magic 3100 mile mark. The course is one city block in the Bronx, one half mile in length. Runners circle the block over and over again, trying to make 120 laps each day. It’s not a particularly photogenic block but the repetition supposedly helps runners reach a trance-like state where they can focus in on their spiritual side.

Many of the runners are middle-aged; most are men and all are white – at least in the 2016 race. While they come from around the world and many have converted to the faith Chinmoy espoused, there is a homogeneity about the runners in the race that doesn’t particularly make for compelling filmmaking. It’s no surprise therefore that Rawal elects to add other stories that make the connection between running and spiritualism.

For example, Native American Shaun Martin of the Navajo tribe re-creates his father’s escape from a government-mandated boarding school back to his home (both buildings no longer exist) in order to plug in to his cultural and personal heritage. Buddhist monk Ajari Misunaga mentors Isomura-san on the rite of kaihgyo which involves running around Mount Hiei in Japan for one thousand consecutive days – just under three years. The distance is just over 60 miles and is done in robes with stops to pay devotion at various places. Misunaga also casually mentions that those that fail are required to commit suicide. Self-flagellation suddenly seems a whole lot less barbaric.

We also see the plight of a tribe in the Kalahari desert who for thousands of years have fed themselves by running down their prey during the hunt. When the government of Malawi (where the tribe is located) enacts a law forbidding the process, the tribe begins to fail, unable to subsist on the meager rations they are provided but also losing tribal identity. Tribesman Gaolo elects to defy the ban with serious consequences to him if he is caught.

The three additional stories are actually in many ways more compelling than the story of the Race which is grueling as New York City suffers through a murderous heat wave and triple digit temperatures, but seems to be more of an “inner self” kind of thing that doesn’t have much connection to a larger culture, at least not the way it is presented here.

The cinematography, particularly outside of New York – i.e. the Arizona and Kalahari deserts, the cold winter landscapes of Finland and the beautiful mountain landscapes of Japan – are often breathtaking. However, there feels like there is more than a little proselytizing here which made me feel uncomfortable. And after seeing some recent NYC DOC films that are about making the world a better place, watching white people try to find spiritual harmony doesn’t feel quite like it has the same urgency or importance.

Running is inherently a selfish sport. It is done solo and even if you are on a running team at the end of the day it is always the individual versus the course. The race finale, although extraordinarily close is ultimately anti-climactic – winning is almost beside the point when the reason the race exists is right there in the title of it: self-transcendence. Improving oneself is not a bad thing by any means but this feels like it falls in line with a self-absorbed generation that is making the world an increasingly harsh place to live in.

REASONS TO GO: Some of the cinematography is beautiful.
REASONS TO STAY: The stories of the two ultra-marathoners, the tribesman and the Native American don’t really mesh well together.
FAMILY VALUES: There is a brief picture of blisters that may be a bit disturbing for the squeamish.
TRIVIAL PURSUIT:  The race was founded in 1997 by Sri Chinmoy and is currently the longest certified road race in the world..
CRITICAL MASS: As of 11/14/18: Rotten Tomatoes: 86% positive reviews. Metacritic: No score yet.
COMPARISON SHOPPING: Hare Krishna!
FINAL RATING: 6/10
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Up and Away