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.

Vacation Time


Yes, it’s time for Cinema365 to take some much-needed time off to rest and recharge. It is happening this year in the midst of our beloved Florida Film Festival but that can’t be helped. Places to go, people to see after all.

The site will be taking a hiatus beginning immediately and resuming on May 17th. We may be able to sneak in another review between now and then if we can and internet access allows. Otherwise, we’ll continue coverage of films from the Florida Film Festival when we return.

Therefore, there won’t be a Pick of the Litter feature for May although there may well be one for June if time allows. In any case, we’ll be back up and running on the 17th and looking forward to some great movies coming our way  starting then. Stay safe and see lots of movies until next we meet.

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The Feels


Girls just want to have fun…and talk about their feelings.

(2017) Dramedy (Provenance) Constance Wu, Angela Trimbur, Jenée LaMarque, Ever Mainard, Josh Fadem, Lauren Parks, Kárin Tatoyan, Doug Purdy, Frankie Wass, Luna Wass. Directed by Jenée LaMarque

Ah, the orgasm. One of life’s few pleasures we don’t have to pay through the nose for. Perhaps for that reason, men chase orgasms like they get a sizable gift card at Bass Pro Shops if they catch them. As for women..Well, read on dear reader.

A group of old friends are gathering at a rented home in California’s Wine Country to celebrate the upcoming marriage between Andi (Wu) and Lu (Trimbur). Gathered there ar Andi’s best friend and sole male Josh (Fadem), filterless chef Regular Helen (Mainard), Lu’s sister Nikki (LaMarque) who is straight and enduring marital issues that her sister doesn’t know about, YouTube singing sensation Karin (Tatoyan) and Vivien (Parks) for a weekend of drinking and partying in general.

As it sometimes happens when old friends get plastered things bubble up to the surface. It turns out, Lu has never experienced an orgasm, something that sends Andi’s confidence plummeting. Andi wonders if there’s something wrong with her, if Lu doesn’t find her attractive, if she is truly making Lu happy. As the weekend continues, all of the women will find their own issues coming to the fore but surrounded by friends, what could go wrong? Welllllll…

Very often Hollywood tends to give the lesbian community short shrift, relegating them to supporting roles or comedy relief. Very rarely are any films told from a lesbian point of view even in independent films as this one is. While it may seem to be aimed at the Lesbian filmgoer market at first glance, The Feels actually can and should be assimilated by any audience. This is a very accessible film.

The problem here is that the premise turns into a soap opera by the middle of the film and drama is manufactured rather than earned. While early on there is legitimate conversation going on, characters get to speechifying as the movie progresses. I understand that much of the dialogue was improvised; that may not necessarily be a bad thing but things feel forced in places. I think the film would have benefited from more established dialogue.

Also to the negative side, the movie is interrupted periodically with bizarre interview/confessional sequences as the characters talk about their first orgasms and other milestones in their sexual past. One of them drops the bomb of sexual assault in her confessional but the movie just glosses over it as if it didn’t matter. Now I understand these sequences were completely improvised but ignoring something like sexual assault is the wrong thing to do, particularly given the current atmosphere. Maybe the filmmakers are trying to get across the point that the sexual assaults of women are generally turned a blind eye on by society but I don’t think this is the way to do it. Either it shouldn’t have been mentioned or it should have been discussed. The one thing a film mainly by women shouldn’t do is ignore a mention of sexual assault. Of course, I might be overreacting a tad but I think it’s important.

To the positive side, the cinematography is beautiful and the actresses here seem genuine particularly stand-up comic Mainard who brings most of the comedy here. Her character is so likable and refreshing that I wanted to spend more time with her than any of the other ladies which isn’t to say that the actresses aren’t interesting but their characters don’t feel all that well-developed. One gets the sense that the cast was working with the outline of an idea rather than anything fleshed out. I have some pretty interesting friends and we’ve had some amazing discussions but gathering them for a weekend to talk about life and sex and turning the camera on them wouldn’t make a very good movie. Sadly, this one didn’t either although there were some things worth checking out – just not enough for me to recommend it much.

REASONS TO GO: It’s refreshing to see lesbians given the front and center of a film.
REASONS TO STAY: Despite their best intentions the story turns into a soap opera in the end.
FAMILY VALUES: There is a fair amount of profanity, some drug use and some sexual content.
TRIVIAL PURSUIT: The ensemble of actresses are close friends in real life.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Vudu, YouTube
CRITICAL MASS: As of 4/12/18: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: The Big Chill
FINAL RATING: 5/10
NEXT:
Florida Film Festival coverage continues

New Releases for the Week of April 13, 2018


RAMPAGE

(New Line/Warner Brothers) Dwayne Johnson, Naomie Harris, Malin Akerman, Jeffrey Dean Morgan, Joe Manganiello, Marley Shelton, P.J. Byrne. Directed by Brad Peyton

A rogue genetic experiment goes way out of control, turning normal animals into giant monsters. A primatologist whose friend – a rare and unusually intelligent white ape – is a victim of the experiment joins forces with a discredited scientist to come up with a cure not just to save humanity but to save his buddy.

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

Release Formats: Standard, 3D, DBOX, DBOX 3D, Dolby 3D, Dolby Atmos, IMAX, IMAX 3D, RPX, RPX 3D, XD, XD 3D
Genre: Action
Now Playing: Wide Release

Rating: PG-13 (for scenes of action, violence and destruction, brief language, and crude gestures)

Aardvark

(Great Point) Zachary Quinto, Jenny Slate, Jon Hamm, Sheila Vand. The brother of a TV star who has issues with his brother’s popularity falls under the care of a therapist who herself begins to develop obsessive behavior towards his brother. Unable to tell fantasy from reality easily, her patient begins to fall in love with a woman – it’s just that he isn’t sure if she is real or not.

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

Release Formats: Standard
Genre: Dramedy
Now Playing: Regal Winter Park Village

Rating: PG-13 (for mature thematic issues, language, some sexuality and violence)

Beirut

(Bleecker Street) Jon Hamm, Rosamund Pike, Mark Pellegrino, Dean Norris. A disgraced diplomat who lost everything during an assignment to Beirut is forced to return to that city in the midst of the Lebanese Civil War in the 1980s to negotiate the safe return of his best friend, a CIA operative. However, everyone around him has their own agenda and there’s no way to know who to trust. You can read my review at the link below.

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

Release Formats: Standard
Genre: Thriller
Now Playing: AMC Altamonte Mall, AMC Disney Springs, Regal Pointe Orlando, Regal Waterford Lakes, Regal Winter Park Village, Rialto Spanish Springs Town Square (opened Wednesday)

Rating: R (for language, some violence and a brief nude image)

Krystal

(Great Point/Paladin) Nick Robinson, Rosario Dawson, Grant Gustin, William Fichtner. A young man who’s led a sheltered life falls hard for the most unlikely woman – a junkie/stripper/prostitute named Krystal. From a completely different world that might as well be another planet, he joins Alcoholics Anonymous even though he doesn’t drink just so he can be in the same room as her. Needless to say, his family does not approve William H. Mach directs this and has a supporting role as well.

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

Release Formats: Standard
Genre: Drama
Now Playing: AMC Universal Cineplex

Rating: R (for language throughout, drug use, some nudity and brief sexuality)

Mercury

(Stone Bench) Galaraj, Ramya Nambeeshan, Prabhudheva, Sanath Reddy. Five childhood friends, all disfigured due to mercury poisoning in the town they grew up in, return for a high school reunion. However in a moment of mischief they disturb something that should have better been left alone. The movie was filmed without dialogue.

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

Release Formats: Standard
Genre: Horror/Thriller
Now Playing: Cinemark Artegon Marketplace

Rating: NR

Sgt. Stubby: An American Hero

(Fun Academy) Starring the voices of Helena Bonham Carter, Logan Lerman, Gérard Depardieu, Jordan Beck. A soldier adopts a stray dog near the barracks during the First World War. That dog would go on to become the most decorated canine in American military history.

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

Release Formats: Standard
Genre: Animated Feature
Now Playing: Wide Release

Rating: PG (for war action and some thematic elements)

Truth or Dare

(Blumhouse/Universal) Lucy Hale, Tyler Posey, Violett Beane, Sophia Ali. A group of friends playing what seems to be a harmless game of truth or dare discover that they have stumbled into a supernatural entity which insists the game be played properly. Those who lie or refuse to do the dare are punished – terminally.

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

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

Rating: PG-13 (for violence and disturbing content, alcohol abuse, some sexuality, language and thematic material)

Where is Kyra?

(Great Point/Paladin) Michelle Pfeiffer, Kiefer Sutherland, Suzanne Shepherd, Sam Robards. An unemployed woman tries to find work and care for her ailing elderly mother as her debts continue to mount up. Desperation drives her to do a dangerous act in order to survive. Find a link to our recent review of this film below.

See the trailer here.
For more on the movie this is the website
Release Formats: Standard
Genre: Drama
Now Playing: Regal Winter Park Village
Rating: NR

ALSO OPENING IN ORLANDO/DAYTONA:

Krishnarjuna Yudham
Venemo

ALSO OPENING IN MIAMI/FT. LAUDERDALE:

20 Weeks
Back to Burgundy
Baja
Beauty and the Dogs
Big Fish and Begonia
Borg/McEnroe
Final Portrait
Gultoo
Ismael’s Ghosts
Krishnarjuna Yudham
Mister Lonely
October
Venemo
Women of the Venezuelan Chaos

ALSO OPENING IN TAMPA/ST. PETERSBURG:

Flock of Four
Krishnarjuna Yudham
October

ALSO OPENING IN JACKSONVILLE/ST. AUGUSTINE:

Fanny
Krishnarjuna Yudham
October
Pandas

SCHEDULED FOR REVIEW:

Back to Burgundy
Beirut
Borg/McEnroe
Rampage
Truth or Dare
Where is Kyra?

FILM FESTIVALS TAKING PLACE IN FLORIDA:

Florida Film Festival, Orlando FL
Sarasota Film Festival, Sarasota FL

Beirut


It’s hard to tell the good guys from the bad in the desert.

(2018) Thriller (Bleecker Street) Jon Hamm, Rosamund Pike, Mark Pellegrino, Dean Norris, Shea Whigham, Douglas Hodge, Jonny Coyne, Leila Bekhti, Kate Fleetwood, Alon Aboutboul, Larry Pine, Sonia Okacha, Mohamed Zouaoui, Ben Affran, Ian Porter, Idir Chender, Nora Garrett, Mohamed Attougui, Anton Obeid, Jay Potter, Brahim Rachiki, Max Kleinveld. Directed by Brad Anderson

 

Lebanon has a history of being a cosmopolitan, beautiful country. Beirut was once described as the Paris of the Middle East. There were sizable Christian and Muslim communities but in the 1970s with an influx of Palestinian refugees Beirut became a powderkeg that exploded into Civil War that by the 1980s left Beirut the usual analogy for dangerous, hostile places.

Mason Skiles (Hamm) in 1972 was the Deputy Chief of Mission at the U.S. Embassy in Beirut. A disciple of Henry Kissinger, he was the fair-haired boy in the State Department, on his way to an ambassadorship of his own and at the very least becoming a major player in the diplomatic corps. Then, a terrible tragedy leaves his career in tatters and Skiles personally broken.

Fast-forward ahead ten years and Skiles works as an arbitrator in labor negotiations and not a very good one at that. Maybe it’s due to the fact that Skiles has fallen into the bottle and shows no signs of emerging. However, he is summoned to Beirut – the last place on Earth he wants to go – ostensibly to lecture at the American University there but in reality he is savvy enough to know that’s only a cover.

In fact, his good friend Cal (Pellegrino) has been kidnapped by a PLO splinter group and they will only negotiate with Cal for reasons that will become readily apparent. The problem is that Cal, who works for the CIA, knows enough to make life uncomfortable for the agency in the Middle East. Mason soon discovers that everyone in the American embassy seems to have an agenda of their own; nobody is trustworthy, not even the assistant/handler Sandy (Pike) who has been assigned to Mason. Getting Cal back alive will be no easy matter, not will it be easy for Mason to stay that way as well.

Veteran movie fans will note that Tony Gilroy wrote the script and won’t be surprised at the often convoluted plot – nor will it be surprising that the story is interesting throughout. Anderson is a strong director who keeps the pace brisk without going too fast and glossing over things. Despite having a plot that requires some concentration to follow, this is nonetheless an easy movie to watch.

.Hamm has been on my radar ever since he starred in Mad Men and I’ve always thought that he was going to one day be a big movie star; he’s just one good role away. This is the closest he’s come to that role; despite his character being deeply flawed, Hamm makes him sympathetic. He shows a great deal of charisma and onscreen charm from start to finish. In short, he’s the best thing about the movie which is saying something in a movie with Rosamund Pike in it.

The dialogue can be a bit noir-ish (which can be a bad thing) and the flashbacks can be jarring. Most negatively, there are sequences in which handheld cameras are used that are literally jarring. Those are all minuses to be sure but the pluses just edge them out enough to make this worth a shot.

REASONS TO GO: Hamm continues to show off star quality. The pacing is very crisp.
REASONS TO STAY: There are some unnecessary handheld camera sequences. The ending is a bit anti-climactic.
FAMILY VALUES: There is violence, profanity and a brief image of nudity.
TRIVIAL PURSUIT: Both Hodge and Hamm have appeared on the Netflix series Black Mirror.
CRITICAL MASS: As of 4/11/18: Rotten Tomatoes: 78% positive reviews. Metacritic: 70/100.
COMPARISON SHOPPING: Syriana
FINAL RATING: 6.5/10
NEXT:
The Feels

Where is Kyra?


The face of Michelle Pfeiffer tells the whole story.

(2017) Drama (Great Point) Michelle Pfeiffer, Keifer Sutherland, Suzanne Shepherd, Sam Robards, Marc Menchaca, Babs Olusanmokun, Mauricio Ovalie, Tony Okungbowa, Celia Au, Gabe Fazio, Bradley W. Anderson, MaameYaa Boafo, Hubert Pont Du Jour, Joel Marsh Garland, Nimo Gandhi, Jorge Chapa, Elizabeth Evans. Directed by Andrew Dosunmu

 

“There but for the grace of God go I” is a phrase we use to describe the less fortunate. It’s a particularly apt phrase; most of the time what separates us from those who are destitute is good luck or good timing. Very few of those reading this now are much more than a paycheck or two away from economic disaster.

When it comes to those of a certain age who are poverty-stricken, we have a tendency to turn away our gaze. When a child is poor, we have sympathy. When an elderly person is poor, we have myopathy. We don’t see them; we don’t react the same way. Even when they are just 60 years old or thereabouts, the attitude is more like “tough luck – you must have done something to get yourself in that predicament.” Often, that isn’t the case.

That’s how it is for Kyra (Pfeiffer). She was hit by the double whammy of divorce and a lay-off at nearly the same time. Now she lives in Brooklyn with her elderly mother Ruth (Shepherd) who has some serious health problems. Kyra runs errands for her, helps bathe and feed her and take care of Ruth’s daily necessities all the while turning in application after application for work, any kind of work. There isn’t any though, not for a woman her age (about 60). They live a meager existence on Ruth’s social security and pension.

Then even that is gone. Ruth’s health eventually fails completely and one day Kyra finds her lifeless body in the living room. There are condolences of course but Kyra doesn’t have a lot of friends and as she sits back with mounting bills she wonders what in hell she is supposed to do. She sells what she can and is able from time to time to get work handing out flyers but considering her debt it’s nowhere near enough. She does meet a guy, Doug (Sutherland) who is a driver who dreams of one day having his own cab medallion license but until then he’s driving for other people and is barely making ends meet himself.

Kyra is desperate and desperate people do things that they ordinarily wouldn’t do. She’s stuck in the position of doing whatever she as to do to survive – and takes her down a road that she never thought she’d travel.

The movie is dark in a lot of different ways; first and foremost it is a dark subject dealing with things that most of us would rather not face. As we grow older, we grow less employable and no matter how much we contributed to society and the economy in our youth, once we get to that point we are expendable, cast aside drones who have outlived our usefulness. Kyra gives the impression of being a hard work (she certainly works hard at finding work) but she is not the type of worker employers are looking for – young and willing to do more for less pay. It’s a sadly common story and one most of us choose to ignore; it’s hard to consider that sooner or later we are at that same point in our lives that Kyra is in. We will all face the same obstacles as she and that, like all unpleasant truth, is something we tend to not want to think about.

Pfeiffer has always been one of the most beautiful women in the world and she remains so; only those who have been paying attention realize what a talented actress she is – she didn’t get an Oscar nomination for nothing. Kyra is perhaps the least glamorous role she’s ever played and not uncoincidentally this is legitimately the best performance of her career. Kyra is tightly wound and so Pfeiffer uses an economy of gesture, expression and dialogue to get across her anguish, her fear, her frustration and her desperation. There aren’t a lot of histrionics except in a couple of cases. Otherwise Pfeiffer gives a spare performance relying a great deal on the silent tools that an actor utilizes. It is work worthy of Oscar attention but that is so unlikely to happen that the odds don’t bear repeating so you’ll just have to take my word for it.

The movie has the advantage of Oscar-nominated cinematographer Bradford Young but Young and Dosunmu make the odd choice of putting everything in room lighting that is dark – even the exterior shots seem to be done through a filter making everything look like late afternoon on a cloudy day. Young often frames the action through doorways and mirrors; we the audience become as Peeping Toms, observing uninvited the intimacies of Kyra’s life. The effect is unsettling and off-putting. I admire the creativity – I believe it is meant to illustrate the dreary darkness of Kyra’s life – but I question the practicality.

Also not working is the soundtrack. There is very little of it and generally what you hear is discordant and grating on the ears, like metal scraping against metal. It’s the kind of heavy metal that would make even a hardcore headbanger plug their ears. Again, one has to give props for the willingness of the filmmakers to go outside the box creatively but then one has to pay attention to the needs of the audience. Good intentions, questionable execution.

I’m giving this a mild recommendation for Pfeiffer’s extraordinary performance and the subject matter which is one Hollywood has been loath to tackle. I think if Dosunmu and company had handled this in a more straightforward manner they would have been far more effective in getting their point across. As it is they did make a movie that gives the viewer a lot to think about even if they don’t particularly want to.

REASONS TO GO: The subject matter is extremely timely. Pfeiffer delivers one of the best performances of her career.
REASONS TO STAY: The movie is so underlit that it is often hard to see what is happening onscreen. The score, such as it is, is abrasive and eventually pretentious.
FAMILY VALUES: There is profanity, adult themes and sexuality.
TRIVIAL PURSUIT: This is only the fourth time in her career that Pfeiffer has appeared as a brunette onscreen.
CRITICAL MASS: As of 4/11/18: Rotten Tomatoes: 77% positive reviews. Metacritic: 74/100
COMPARISON SHOPPING: The Pursuit of Happyness
FINAL RATING: 6.5/10
NEXT:
Beirut

The Workshop (L’atelier)


Antoine gives his teacher a speculative look.

(2017) Drama (Strand) Marina Foïs, Matthieu Lucci, Florian Beaujean, Mamadou Doumbia, Mélissa Guilbert, Warda Rammach, Julien Souve, Issam Talbi, Olivier Thouret, Charlie Bardé, Marie Tarabella, Youcef Agal, Marianne Esposito, Thibaut Hernandez, Axel Caillet, Lény Sellam, Anne-Sophie Fayolle, Cédric Martinez, Chiara Fauvel, Jorys Leuthreau, Pierre Bouvier, Téva Agobian. Directed by Laurent Cantet

 

The act of writing is an act of revelation. No matter the format or genre, the writer never fails to reveal something about themselves. Sometimes that which is revealed is something dark and disturbing.

Celebrated novelist Olivia Dejazet (Foïs) is running a writer’s workshop for young people in the seaside town of Le Ciotat, near Marseilles. Once a prosperous shipyard, the mostly working class town has fallen on hard times. Unemployment is high and none of the teens who are attending the workshop have jobs. Apparently the purpose of the workshop is to give them something to do.

They are tasked with writing a thriller set in Le Ciotat. The youngsters debate whether to set it in present day or in the past, or in both utilizing flashbacks. The discussion is mostly friendly but there is one youth who is goading the others – Antoine (Lucci), a handsome and buff young man who insists that the novel be a murder mystery. That’s all well and good with the others but when it comes to motivation for the murder rather than something racially or financially motivated or a crime of passion, Antoine insists that it be more of a thrill crime – a sociopath who kills random people because he can. As he writes stories with this theme to read to the class, it is clear he is a very talented writer…and also that his imagination is disturbing to say the least.

Olivia begins to fixate on her young charge and does research, finding that he is watching right-wing nativist videos and shows an unhealthy obsession with guns and violence. Even as Olivia is drawn to him, she begins to fear him equally and what he might be capable of doing.

Cantet is the brilliant director of the brilliant The Class whose output since then hasn’t been released on American shores. The Workshop marks the first film in ten years by this director to get a U.S. release. Will this put him back on the art house radar the way The Class did in 2008? Probably not; the movie is more flawed than its predecessor.

Lucci, like all the other young people in the film, is an amateur actor local to Le Ciotat with no previous screen credit and he’s quite a find. Handsome and intimidating at times, he projects a sense of menace which is not so much overt but more venal than venomous. He seems hell-bent on pushing the buttons of everyone around him, sometime by saying things that are out-and-out racist or misogynist. Cantet hints that he truly believes some of those things but on the other hand there seems to be an ulterior motive that Antoine has in nearly every relationship he’s in with few exceptions. He despises his working class parents and everything they stand for but most of the right-wing commentaries he listens to disdain he unemployed, which he is.

The relationship between Antoine and Olivia is the central attraction here. The chemistry isn’t exactly sexual although there are hints that it might be. Olivia feels an odd compelling fascination that is mixed with outright and justifiable fear. As a writer, she’s curious about what Antoine is capable of. As a woman, she’s terrified over what Antoine is capable of. The resulting mix makes for a fascinating character study.

Unfortunately, none of the other kids in the class gets as much character development and the movie is long, drawn-out and slow paced which is an ingredient for American audiences switching to something less hard on their barely-there attention spans. That said, the film is still interesting – there are archival films of the shipyard’s heyday interspersed with the modern day action – and Cantet has a better handle on French social issues than almost any other director in France.

Readers in Miami can catch the film at the MDC Tower Theater this week. Tickets can be purchased here.

REASONS TO GO: The dynamic between Antoine and Olivia is intriguing.
REASONS TO STAY: The movie is long and slow-moving.
FAMILY VALUES: There is profanity, teen drinking and disturbing dialogue.
TRIVIAL PURSUIT: The film debuted in the Un Certain Regarde category of the Cannes Film Festival in 2017.
CRITICAL MASS: As of 4/9/17: Rotten Tomatoes: 86% positive reviews. Metacritic: 76/100.
COMPARISON SHOPPING: My Friend Dahmer
FINAL RATING: 6/10
NEXT:
Where is Kyra?

Apologies…


…at our absence this weekend but I’m afraid Cinema365 world headquarters suffered a technology outage – my laptop became non-functional. Fear not, it is repaired and we will resume publishing our reviews shortly. However, shortly we’ll be closing up shop for an extended vacation. We should be publishing throughout the rest of the week but there will be radio silence from Cinema365 thereafter but again, fear not – we’ll be back bright-eyed and bushy-tailed on May 17th.