Nose to Tail


Cut off at the pass.

(2018) Drama (1091) Aaron Abrams, Lara Jean Chorostecki, Ennis Esmer, Salvatore Antonio, Brandon McKnight, Genevieve Kang, Caroline Bartczak, Lauren Collins, Jason Tome, Cody Black, Robert B. Kennedy, Brock Morgan, Rufio Luey. Directed by Jesse Zigelstein

 

In recent years, chefs have gone from being virtually unknown to becoming rock stars in their own right. A celebrity chef can pretty much write their own ticket, able to command the attention of foodies the world over who will walk across hot coals to get a table at their restaurant. For this, we sometimes excuse behavior we wouldn’t accept in our own workplace. If Gordon Ramsey were my boss, I’d be sitting him down in HR with a lawyer handy after one of his tirades.

Danny (Abrams) has gone from being the darling of hipster foodies, the hot young chef to being a dinosaur in his own bistro. His restaurant is hemorrhaging money and his past due bills are piling up; even though his restaurant is packed night after night, he is drowning in debt. The only life preserver on the horizon is his school chum Mark (Esmer) who has agreed to come to his restaurant for a meal with a group of potential investors who might prove to be the solution to his cash flow problems. He needs to wow the table or face the closure of a business he has spent ten years building.

The film chronicles the day of that dinner. Danny is already in hot water with Chloe (Chorostecki), his house manager and sometime lover who he stood up the night previous. He is perturbed because the new hot food truck with the new hip not chef (Tome) is parked cross the street from his eatery. His sommelier (Antonio) reports that none of his wine providers will extend any credit to him any longer. His landlord (Kennedy) has had it up to here with missed rental payments and bounced checks; he has to the end of the month to get caught up or Danny will be evicted.

To make matters worse, a supercilious food blogger (Collins) informs Danny that his talented sous chef Keith (McKnight) is jumping ship for the chance to become an executive chef in his own restaurant. And Danny has forgotten that his ex-wife (Bartczak) is bringing his son (Black) over because it is his day to watch him. Along the way, Danny will rant, scream, and berate his put-upon staff while pushing away the one person who seems to believe in him at all. As the night progresses, Danny seems to be falling apart. Can he pull it together to save his restaurant?

First-time feature director Zigelstein paints a realistic portrait of life in an upscale bistro, and of the challenges (that are sometimes insurmountable) that independent restaurants face. It is no secret that restaurants fail at a staggering rate; it is one of the toughest businesses to succeed at.

Abrams does strong work as Danny, a man whose own hubris is his own worst enemy. Danny believes that he is still the biggest and brightest star in Toronto; that belief has become increasingly delusional and everyone knows it except Danny. He’s not a pleasant person to be around and he’s certainly not a pleasant person to work for. He’s the stereotype of an asshole chef, the kind we see on TV and in the movies and whose behavior may be amusing from a distance, but if you are forced to deal with it day after day would no doubt provoke PTSD in a major way. Danny’s tirades and tantrums eventually grow wearying and by the time the movie comes to an end you may not give a ratatouille whether Danny saves his bistro or not.

That aside, the movie feels pretty authentic to me, but as I’ve never worked in a professional kitchen myself you might want to take that with a grain of salt. This is definitely not a film for Vegans (there’s a scene that is critical to the plot that involves the butchering of a hog, and it appears they use an actual hog carcass or at least a realistic facsimile of same) nor is it a film for those whose idea of a high class meal is the daily special at Appleby’s. Nonetheless, there’s enough here to merit a look-see and as the rental fee is extremely reasonable ($3.99 at most streaming services), you really can’t go wrong.

REASONS TO SEE: A realistic look at some of the obstacles restaurants face.
REASONS TO AVOID: There comes a point where the tantrums become tiresome.
FAMILY VALUES: There is all kinds of profanity and some brief violence. There are also images of meat being butchered that may upset vegans or those sensitive to such scenes.
TRIVIAL PURSUIT: Both Abrams and Chorostecki had supporting roles on the excellent but lamentably canceled Hannibal.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 8/8/20: Rotten Tomatoes: 70% positive reviews: Metacritic: No score yet
COMPARISON SHOPPING: Chef
FINAL RATING: 6.5/10
NEXT:
Made in Italy

The Boy Who Harnessed the Wind


Happy happy joy joy.

 (2019) Biographical Drama (NetflixChiwetel Ejiofor, Maxwell Simba, Felix Lemburo, Robert Agengo, Fiskan Makawa, Lily Banda, Aissa Maiga, Fredrick Lukhere, Hestingzi Phiri, Rophium Banda, Philbert Falakeza, Samson Kambalu, Raymond Ofula, Noma Dumezweni, Lemogang Tsipa, Joseph Marcell, Martin Githinji, Melvin Alusa, Amos Chimpokoser, Edwin Chonde, Hilda Phiri. Directed by Chiwetel Ejiofor

 

We Americans often romanticize Africa as a place of glorious vistas and wonderful animals. Or, we demonize it as a place of corrupt governments and tribal genocide. Both of those viewpoints are incomplete; Africa is so much more. It is modern cities, but it is also small villages of subsistence farmers that are literally like living in another century.

This true story is based on the life of William Kamkwamba (Simba), a young boy with a knack for mechanical things who lives in a rural village in Malawi in abject poverty. His father Trywell (Ejiofor) faces drought and flooding, brought on when a neighboring farm sells to a tobacco company who promptly cut down all the trees whose roots held back flooding in the village with predictable results. The family was already living on the edge; now with most of their food supply destroyed and with no income from selling what they didn’t consume, things get desperate – William’s intelligent sister (Banda) is forced to withdraw from college and face a life of marriage and child-rearing, a life her mom (Maiga) knew would be a waste of her daughter’s potential. They also can’t afford the tuition at William’s school; however, he arranges with a teacher – blackmails, more like – to get access to the school library.

But William has an idea – a windmill to draw water from the village well to irrigate their farms. William has little to work with and his father, beaten down by all the obstacles he has failed to overcome, has little confidence that William’s idea will work and is unwilling to give up the bicycle chain that is crucial to the success of the windmill. The stakes couldn’t be higher for William and his family; could his knowledge of science and engineering overcome his father’s prejudices?

This is the first feature as a writer and director for Ejiofor and it’s a pretty good one. He captures all the tribulations faced by tribal villages in Africa, from political turmoil to environmental challenges to their own superstitions and traditions. That the real William Kamkwamba was able to overcome these things as a middle school-aged boy is nothing short of miraculous (today he is in his early 30s as this is written and a college graduate who has appeared on The Daily Show as well as given TED talks). Ejiofor takes great care to develop the story, but at times is a bit too workmanlike; a good director knows the shorthand needed to keep their film from bogging down. Ejiofor will acquire this skill through practice, no doubt. There’s a lot good about the movie, and it is worth checking out if for no other reason for an educational standpoint but be aware that the film has some noticeable flaws.

REASONS TO SEE: Captures the honesty of African village life.
REASONS TO AVOID: Although the payoff is inspiring, the lead-up is frustratingly over-developed.
FAMILY VALUES: There are some thematic concerns regarding poverty and starvation, but otherwise perfectly suitable for the entire family.
TRIVIAL PURSUIT: Ejiofor filmed on location in Malawi; as he did not speak the native Chichewa language, he had to learn to speak it for his character.
BEYOND THE THEATER: Netflix
CRITICAL MASS: As of 8/7/20: Rotten Tomatoes: 86% positive reviews. Metacritic: 68/100.
COMPARISON SHOPPING: William and the Windmill
FINAL RATING: 6.5/10
NEXT:
Nose to Tail

Marley


The legend.

(2012) Music Documentary (Blue FoxBob Marley, Ziggy Marley, Cedella Marley, Rita Marley, Chris Blackwell, Jimmy Cliff, Cindy Breakspeare, Danny Sims, Diane Jobson, Lee Perry, Constance Marley, Bunny Wailer, Marcia Griffiths, Judy Mowatt, Bob Andy, Edward Seaga, Lloyd McDonald, Nancy Burke, Ibis Pitts, Hugh Creek Peart, Evelyn Dotty Higgins. Directed by Kevin McDonald

 

This re-release of the 2012 documentary is meant to celebrate the reggae icon, who would have turned 75 this past February 6th had it not been for his untimely death. The movie bills itself as the definitive biography of Bob Marley and there is truth in advertising.

Covering Marley’s life from early childhood to his final days, we see the privations of Marley’s childhood and teen years when he lived in poverty. A child of an interracial marriage (his father, whom he rarely saw and died when Bob was young, was white), he was bullied and often ignored by a culture that at the time had strict racial boundaries. If Marley was bitter about being ostracized by both sides of his parentage, he never showed it and instead preached a message of tolerance and brotherhood. He often went to bed hungry, going days between meals.

Along the way, filmmaker Kevin McDonald (The Last King of Scotland) talked to just about everyone who knew him, either in a professional standpoint (Island records chief Blackwell, backing vocalist Judy Mowatt, musicians Bunny Wailer and Jimmy Cliff, producer Lee “Scratch” Perry) and personally (his wife and several of his eleven children, boyhood friends, cousins, and a couple of his extramarital affairs). We don’t hear much from Marley himself – he granted few interviews while he was alive, preferring to let his music do his talking.

Following his rough childhood, he found acceptance in the Rastafarian faith, for which he would eventually become the symbol. Most Americans tend to focus on the dreadlocks and the use of ganja as a sacrament, believing that the followers were blissed-out stoners; many college students in the 70s and beyond had Marley posters on their dorm room walls – not because of the music but because it was a way of proclaiming a love for weed without overtly saying so. Trust American college students to miss the point (and I missed many and still do).

The music is front and center here and we hear both live and studio versions of most of his most recognizable hits. Yes, he sang about “One Love” and “Every Little Thing is Gonna Be Alright” but he also had calls to action like “Get Up Stand Up,” “Buffalo Soldiers” and “Redemption Song.” In researching this film, I came across a quote by a snooty West Coast film critic who sniffed that Marley “wrote the same song 7,000 times” which is ignorant at best. Yes, I understand that the reggae beat can get old if you listen to it long enough, but anyone who thinks that Marley’s catalogue is variations of the same song isn’t listening closely.

At two and a half hours long, the film requires commitment. I’m sure those who dislike reggae will be put off by that alone. However, even casual fans will find a lot to glean here, as the movie is chock full of rare footage and music that rarely gets played on the radio these days. Marley fans will find there’s  lot to celebrate.

For those buying tickets, be aware that with every ticket purchase, fans will receive a download pack for an exclusive Ziggy Marley – who appears prominently in the documentary – song and a chance to win exclusive Bob Marley merchandise. Click on the Virtual Cinematic Experience link below and a portion of ticket sales will go to various art film houses around the country.

REASONS TO SEE: Extremely informative. Shows a side of Jamaican culture most rarely see.
REASONS TO AVOID: A little bit overwhelming for the casual fan.
FAMILY VALUES:  There is a fair amount of drug use, some adult themes and violent images.
TRIVIAL PURSUIT: Bob Marley fathered eleven children with seven different mothers.
BEYOND THE THEATER: Virtual Cinematic Experience, Vudu
CRITICAL MASS: As of 8/6/20: Rotten Tomatoes: 95% positive reviews; Metacritic: 82/100.
COMPARISON SHOPPING: The Harder They Fall
FINAL RATING: 7.5/10
NEXT:
The Boy Who Harnessed the Wind

Rebuilding Paradise


Paradise lost.

(2020) Documentary (National GeographicWoody Culleton, Matt Gates, Michelle John, Erin Brockovich-Ellis, Zach Boston, Brendan Burke, Justin Cox, Mike Ramsey, Ken Pinlok, Alejandro Saise, Kayla Cox, James Gallagher, Phil John, Mike Zucolillo, Melissa Schuster, Tammy Hillis, Zeke Lunder, Calli Jane DeAnda, Aaron Johnson, Carly Ingersoll, Tenille Gates. Directed by Ron Howard

 

We have become inured to disaster. Each one seems to be greeted with numb compassion; thoughts and prayers, and all that. We feel for the victims of Hurricane Katrina. We feel for the victims of the tornados that swept through Alabama. We feel for the victims of the explosion in Beirut which happened less than 24 hours ago as I write this. But we also feel numb, as if it’s just one more thing in the load of regret that we carry around with us like a backpack full of bricks.

Oscar-winning director Ron Howard is surely aware of this. As we cope with a deadly virus that has cost 160,000 lives (and rising), protests (sometimes violent) over racial injustice, an increasingly divided country that can’t even agree on whether we should wear masks during a pandemic, it feels like we have lost our ability to feel compassion or horror. All we feel is nothing.

This is a documentary that aims to change that. The first ten minutes are maybe the most terrifying ten minutes you’ll experience this year. We see the footage of the 2018 Camp Fire, which on November 8, 2018, fanned by Santa Ana winds, fueled by years of drought and years of a lack of forest clearing, went from being a small fire to travelling nine miles in a matter of hours, roaring through the town of Paradise, California like a pyroclastic cloud, leveling the town of 26,000 in a matter of hours and leaving 86 dead – the deadliest wildfire in the history of the California.

But what happens then? Howard isn’t interested so much in the disaster itself but in the aftermath. He follows several residents of Paradise – police officer Matt Gates, school board member Michelle John, and former mayor Woody Culleton (and the self-admitted former town drunk) – as they cope with the trauma, the loss of life, the loss of property, the feeling of rootlessness. Everything they knew and loved was gone. Of course, they want to rebuild.

But the nagging question is, should they? The conditions that created the Camp Fire aren’t going to go away anytime soon, and with climate change growing more and more of an issue, there is a very real chance that if they rebuild the town, it could burn once again. While the sparks that started the fire came from the nearly century-old equipment of Pacific Gas and Electric, a town meeting in which Aaron Johnson, an executive for the power company, maintains that while PG&E intends to “do right” by the town, it will take a minimum of five years to convert the power lines to underground lines. With the rains that normally soak the woods of the town, located about 85 miles north of Sacramento in Butte County, not arriving until after Thanksgiving (after previously arriving before Halloween), it’s a very scary situation for those who call Paradise home.

One of the things the documentary does well is show how interdependent a town is. Michelle John tells us that if the kids all move away, there’s no point in reopening the schools; if the schools don’t open, there’s no reason for people to stay. It’s a Catch-22 that also exists for businesses and services as well.

The unassailable thing that we can’t get away from is that home is home; there’s something about a place that gets under our skin, that gives us a sense of belonging. This is particularly true of small towns, although big cities can have this as well. There are places where we don’t just want to live there; we want to die there too.

=Dealing with the bureaucracy that is FEMA is almost as traumatic as the fire itself. Getting the funds and permits to get homes rebuilt requires the residents to jump through hoops. Many of them can’t afford to move somewhere else even if they wanted to – and some really don’t want to, whether it’s due to an attachment to the life they once lived there, or because the place calls to them.

The three main subjects – John, Gates and Culleton – are all interesting. Gates is the kind of model police officer that give police forces a good name; he is dedicated to his community and heroic in evacuating his town, even as he notices his own home is burning. John works tirelessly for the kids that she serves, trying not only to get kids placed in area schools, but also to clear the area around the football field at the high school so that the senior class can hold their graduation ceremony. Culleton is the straight-shooter, who at 74 decides that relocation is out of the question; “Where the hell am I going to go?” he says crossly, when discussing the matter.

The movie is inspirational, and there are some moments – such as one where a tough man is reduced to tears when the rebuilding of his home begins. Family members discuss the last moments of loved ones who died in the fire, and a loving husband tells his wife to make sure she takes care of herself in her zeal to get things back to normal for her town.

The spirit of these townspeople is indominable; you can’t help but admire they’re strength. Many of the town’s residents will never return. Bringing the town back to what it was before is the work not of months and not even years but decades. Some critics sniped that the film doesn’t truly examine whether Paradise should be rebuilt but to be honest, who is anyone to tell a person where they should live? People live in tornado alley, on the coast where hurricanes land, in earthquake zones, near volcanos, and near rivers that flood. There are few places on the planet that are exempt from natural disasters. It’s what we do after them that define us as people.

REASONS TO SEE: Packs an emotional wallop. Uplifting in the truest sense of the word. The footage of the fire and the aftermath are breathtaking and sobering. Puts the people at the center of the story. Illustrates how interdependent a community is.
REASONS TO AVOID: In the stressful environment we live in currently, some might find it too much.
FAMILY VALUES: The footage of people escaping the fire may be too intense for the impressionable; there is also some profanity.
TRIVIAL PURSUIT: The year following the fire, the Paradise High School Bobcats football team went undefeated; virtually the entire town that remains would attend their home games.
BEYOND THE THEATERS: Virtual Cinematic Experience
CRITICAL MASS: As of 8/5/20: Rotten Tomatoes: 93% positive reviews, Metacritic: 70/100
COMPARISON SHOPPING: Cajun Navy
FINAL RATING: 10/10
NEXT:
Marley

The Cuban


The memories of when we were young.

(2019) Drama (Brainstorm) Louis Gossett Jr., Ana Golja, Shohreh Aghdashloo, Lauren Holly, Giacomo Gianniotti, Shiva Negar, Jonathan Keltz, Layla Alizada, Kane Mahon, Tabby Johnson, Margaret Lamarre, Gerry Mendicino, Richard Chevolleau, Emily Piggford, Mazida Soroor, Paulbaum Wildbaum, Wajma Soroor, Nadine Roden, Pazz Neglia, Olga Consorti. Directed by Sergio Navarretta

 

Our culture is remarkably cruel to the elderly. We have a tendency to shut them away in warehouses for the old, out of sight and out of mind. We sigh and tell ourselves that it is in the best interests of those whose golden years are tinged with rusted iron; in reality it is as often a convenience for ourselves.

Young Mina Ayoub (Golja) is a pre-med student starting her first day on the job in an extended care facility. One of her assignments, as passed on to her by head Nurse Baker (Holly) is to care for Luis Garcia (Gossett), a cantankerous gentleman who is in the throes of vascular dementia and in the early stages of Alzheimer’s. He refuses to eat the dietitian-prescribed food that is supposed to be good for his ailing heart. She notices a poster of Benny Moré on the wall, a legendary Cuban trumpeter. Her late father had introduced her to Cuban music so she has a bit more familiarity with it than the average Afghan immigrant.

She also lives with her Aunt Bana (Aghdashloo), who as an administrator for the facility, is watching Mina like a hawk. Bana had a career as a physician in Kabul before the violence there forced her to move to Canada but it meant giving up her career and taking care of her niece, who by then had been orphaned

Mina is oddly drawn to Luis and decides to play some Cuban jazz records to see if they would stimulate something more than the vacant stare he gives (when he’s not throwing plates in her general direction when she tries to get him to eat). She also discovers that Luis is willing to eat Cuban food that he remembers fondly, so she begins cooking some for him and bringing it in.

Gradually we discover that Luis was one of the most revered guitar players in Cuba, whose band Los Cubanos played all over the world and shared the stage with luminaries like Dizzy Gillespie. He also was deeply in love with Elena (Golja in a dual role), the band’s singer. The food and the music begin to awaken Luis and he and Mina begin to bond. She also begins a romance with Kris (Gianniotti), a teacher’s assistant at her college who is studying psychology and has some insight into Luis’ condition, as well as a guitar. Soon, it appears Luis is coming out of his shell, but that generally means that the other shoe is about to drop.

Navarretta, whose career spans 20 years although he has mostly directed short films, is a bit heavy-handed in places; for example, the flashback scenes of Luis in Havana are vibrant and colorful; the scenes in the nursing home drab and colorless. We get that Luis’ life is more vivid in his memory than in his intolerable present, but I don’t think it was necessary to make the home look like Alcatraz.

The performances here are strong with the 84-year-old Gossett showing that he won an Oscar for a reason; he imbues Luis with humanity and dignity, despite the fact that his dementia is robbing him of both. Luis is often volatile, his moods swinging wildly from violence to joy to child-like to weary, sometimes within the confines of a single conversation. Although his Cuban accent slips from time to time, his chemistry with Golja is undeniable and she brings a great deal of life to the film; she’s another veteran of the DeGrassi series that seems to have employed nearly every actor in Canada at one time or another.

Although the movie is low-key, it does show a genuine affection for Cuban music and culture, not to mention a valid point to make about how the elderly are treated in modern Western society. I could have done without the subplot of the romance between Mina and Kris; it distracts from the real story which is the relationships between Mina and Luis, and between Mina and her family, which is also an important commentary on the expectations of immigrant families which I could relate to directly. This is a movie that some might write off as a Hallmark channel type of film, but I can assure you that it is much, much more – it is a hidden gem that film buffs would do well to seek out.

REASONS TO SEE: A love letter to Cuban music as well as an indictment of how we warehouse the elderly.
REASONS TO AVOID: The romance between Mina and Kris feels unnecessary
FAMILY VALUES: There is some brief mild violence.
TRIVIAL PURSUIT: The soundtrack was written by Hilario Duran, a veteran Cuban pianist whose own life story has many similarities to that of Luis Garcia.
BEYOND THE THEATERS: Virtual Cinematic Experience
CRITICAL MASS: As of 8/4/20: Rotten Tomatoes: 60% positive reviews, Metacritic: 53/100
COMPARISON SHOPPING: Buena Vista Social Club: Adios
FINAL RATING: 6.5/10
NEXT:
Rebuilding Paradise

Apollo 11


One giant leap for mankind.

(2019) Documentary (NeonNeil Armstrong, Buzz Aldrin, Michael Collins, Deke Slayton, Clifford E. Charlesworth, Bruce McCandless II, H. David Reed, Charles Duke, Gene Kranz, Bill Anders, Jim Lovell, John F. Kennedy, Janet Armstrong, Patricia Mary Finnegan, Andy Aldrin, Walter Cronkite, Richard M. Nixon, Lyndon B. Johnson, Hugh O’Brian, Joann Morgan, Joan Ann Archer. Directed by Todd Douglas Miller

 

To celebrate the 50th anniversary of the landing of men on the moon, NASA sanctioned this documentary, giving filmmaker Miller unprecedented access to their archives, allowing him to use footage that essentially hasn’t been seen before now.

Expertly cut by Miller, the material here is meant to promote the immensity of the task, the majesty of the machines that accomplished it and the heroism of the men who rode inside. The movie succeeds on the first two of these; of the third, it is less successful, giving us little more than glimpses into the astronauts. I suppose if you want to find out more about these men, there are plenty of other places to look. It’s not as if these guys weren’t famous.

One thing about reviewing films that are no longer playing in theaters is that you lose the dimensions that are available for those on large screen formats. If ever a movie deserved to be seen in IMAX it’s this one, where the roar of the engines and the size of the Saturn V really take hold of the imagination. Miller manages to give a kind of “you are there” flare to much of the film, from the chaos of Mission Control (with the audio synched up with the video for the first time, giving us an ear on the various conversations going on behind the scenes) to the in-capsule recordings done by the astronauts themselves, whose footage got them membership in the American Society of Cinematographers back in the day.

Once the lift-off footage is complete, the movie gets a little bit dull; even the very dangerous moon landing itself doesn’t have the dramatic effect of the same scenes done for First Man, the biopic of Armstrong that delighted critics but failed to win a mass audience in 2018. Still, it’s hard not to be impressed with the footage and to get a sense of the times, of the feeling that we could accomplish anything we set our minds to – it’s a mindset the nation has largely lost since then. Considering there are still tinfoil hat-sorts that think the whole thing was a hoax, well, it’s hard to argue with the footage but I suppose they will anyway. In any case, this is wonderfully informational for those who didn’t get to live through the events and for those that did, a nice feeling of nostalgia.

REASONS TO SEE: Some incredible footage. Makes you feel like you were there in the moment.
REASONS TO AVOID: Somewhat dry in the middle. We don’t really get to know the astronauts.
FAMILY VALUES: There is some peril but suitable for the entire family.
TRIVIAL PURSUIT: The electronic music score was played entirely on instruments that were available in 1969.
BEYOND THE THEATERS: Amazon, AMC On Demand, AppleTV, Fandango Now, Google Play, History Vault, Hulu, Microsoft, Movies Anywhere, Redbox, Vudu, YouTube
CRITICAL MASS: As of 8/3/20: Rotten Tomatoes: 99’% positive reviews, Metacritic: 88/100
COMPARISON SHOPPING: Apollo 13
FINAL RATING: 6.5/10
NEXT:
The Cuban

Summerland


A brief respite before the war.

(2020) Drama (IFC) Gemma Arterton, Gugu Mbatha-Raw, Penelope Wilton, Tom Courtenay, Lucas Bond, Dixie Egerickx, Dominic McGreevy, Amanda Root, Jessica Gunning, David Horovitch, Aoibhine Flynn, Amanda Lawrence, Casper Allpress, Toby Osmond, Joshua Riley, Sally Scott, David Ajao, Nina Beagley, Sian Phillips, Daniel Eghan, Ty Hurley, Marie Hamm. Directed by Jessica Swale

We are increasingly reminded, in these days of pandemic and political divisiveness, that there was a time when everybody was expected to Do Their Bit. People made sacrifices for the greater good. Oh, how times have changed.

Cranky author Alice Lamb (Wilton) despises children. She types away on her “academic treatises” on British and Celtic mythology in her cottage in Kent. However, the Alice of 35 years earlier (Arterton) was….still in the same cottage and still despised children and still typing away at her academic treatises. That’s when Frank (Bond) shows up at her door. He’s an evacuee from London in need of a temporary guardian while his RAF pilot father and Ministry of Defense mother are busy fighting the war, each in their own way. Alice is flummoxed; she had no idea that a kid was coming to live with her but she is gently reminded that she volunteered, even though she doesn’t remember volunteering. In fact, she wants the boy taken somewhere else at once. The authorities promise to look into finding him a place to live, but it will take about a week and she needs to suck it up until then.

Alice is obviously not fond of people in general, and perceptive Frank realizes that there is something that caused this self-imposed solitude. He is not necessarily a brilliant child, but he has a good heart and keen observational powers and soon he begins to thaw out the chilly Miss Lamb, whom is thought to be a witch by the village kids and maybe even a Nazi spy. As such, she is often the butt of childish pranks, which further makes her despise the younger set.

But Frank is so genuine and so willing to please that eventually Alice begins to care for him – so much so that she begins to open up about her past, and the relationship with Vera (Mbatha-Raw) that dare not speak its name, but which was nevertheless the love of Alice’s life. Unfortunately, Alice is terribly inexperienced at the whole parenting thing and makes a huge mistake when faced with a terrible situation and ends up making a discovery about the identity of Franks’ mother that will shock her to her very core and nearly lose her relationship with Frank in the bargain.

One of the first things you will notice about the film is the absolutely lovely cinematography of Laurie Rose – although I am of the considered opinion that it is nearly impossible to make an English village look ugly. Nearly every shot is picture perfect, from the wild seaside to the snug interiors to the waving fields of wheat. You may end up considering a vacation to Kent somewhere down the line after seeing this.

The second thing you’ll notice is the strength of the performances here. Gemma Arterton is one of those actresses who seems to always turn in a strong performance but never gets the kind of credit she deserves. She certainly has the talent of an Anne Hathaway or an Emma Stone and those are the sorts of roles and movies she should be getting. It’s a shame that she isn’t. As for veteran Tom Courtenay, I could be perfectly happy of an entire film of him reciting the collected works of William Wordsworth; he’s the kind of actor that you fall in love with each and every performance. He has a small but important role here and he makes the most of it.

The flaw here is that the twist, when it comes late in the movie, is jaw-dropping and not in a good way. It will leave veteran cinema buffs shaking their heads and muttering “Really? You went there? REALLY?!?” However, getting to that point is so enjoyable and so beautiful to watch that at least in my case, I was in a forgiving mood by the end of the film.

Although available on VOD at present, it will be playing at the Florida Film Festival on Saturday, August 8th at 5:45pm at the Enzian. Tickets may be purchased here. It is not a part of the Virtual Festival selections, so if you are planning on only attending the Festival this year by remote viewing, you’ll have to pay the additional rental fees to your streaming platform of choice. It is, however, worth it. For those outside of Florida, it is also playing at selected theaters as well.

REASONS TO SEE: Excellent performances by Arterton and Courtenay in particular. Goes to unexpected places occasionally. Lovely cinematography.
REASONS TO AVOID: The twist is somewhat preposterous.
FAMILY VALUES: There is some brief sexuality and adult themes.
TRIVIAL PURSUIT: The film has no relation to the 2003-2005 TV series of the same name that starred Lori Loughlin, Zac Efron and Ryan Kwanten.
BEYOND THE THEATERS: Amazon, AppleTV, Microsoft, Vudu
CRITICAL MASS: As of 8/2/20: Rotten Tomatoes: 77/100, Metacritic: 55/100
COMPARISON SHOPPING: The Guernsey Literary and Eel Pie Society
FINAL RATING: 8/10
NEXT:
Apollo 11

Opus of an Angel


The blind leading the bland.

(2017) Drama (Random) William McNamara, Cindy Pickett, Kaylynn Kubeldis, Sofya Skya, Destiny Austin, Lee Kholafai, Leila Ciancaglini, Nadja Hussein Camper, Will C, Marjo-Rikka Makela, Cristian Fagins, Don DiPaolo, Marisa Lopez, Ellison Julia, Jamison Newlander, Jon Peacy, Micah Fitzgerald, Joan Benedict Steiger, Mikul Robins, Said William Legue, Christine Kent, Sara Terho. Directed by Ali Zamani

 

What is an angel? Most of us don’t really believe in angels to begin with – whether you are religious or not. It goes without saying that nobody has ever seen one, or will willingly admit to it since if you DID admit to having seen one, chances are people are going to be quietly backing away from you. Angels are the servants of God, right? Or are they ageless creatures sent to watch over us in our hour of need? Or are they merely observers of the human condition? Wings and halos notwithstanding, we may want to believe in angels deep down even if we think they don’t exist.

When it comes to faith, Dr. Stephen Murphy (McNamara) gave at the office. He was once a successful cardiac surgeon, a happy father and husband, celebrating his little girl’s tenth birthday with a picnic at her favorite park, when his cell phone rings – an emergency surgery is necessary, life or death. And the patient is a kid just about his daughter’s age.

We catch up to Stephen a year later on his daughter’s eleventh birthday. His home is tidy, but empty; the only thing that looks out of place is the noose hanging in the kitchen. Stephen has decided that he can’t take the pain of life anymore and is going to finish himself off just as soon as he runs a final few errands. However, before he has been gone from the house very long, he sees a blind little girl (Kubeldis) knocked over by a car driven by a group of hoodlums. She’s okay, but has been separated from her classmates who are out and about on a field trip. Unable to contact her mother, he allows her to tag along on his last day. Might as well have some company, right? Besides, his paternal instincts kick in – you can’t exactly leave a blind girl alone in the city to fend for herself.

The two actually end up bonding. Stephen, initially morose and almost robotic, begins to respond to the girl’s – her name is Maria, by the way – infectious attitude. One of the most touching scenes in the film involves Stephen taking her to a movie theater playing a classic Buster Keaton silent comedy, with Stephen describing what’s happening on the screen to the blind girl. Stephen is plagued by memories, though, that soon explain what happened to his family and to Stephen, and why he is no longer interested in living. Is Maria just a blind little girl who happened to cross paths with Stephen, or is there something more going on here?

The script plays it coy, but I think its obvious by the end of the film that there is an otherworldly aspect to the movie. This is not exactly a faith-based drama – although there are elements of that, but the filmmakers choose not to hit you in the face with the faith aspects of the film. Militant atheists, however, may find some offense to be taken.

For cinema buffs, this is a movie with tons of heart but lacking in execution. Much of the movie is shot on handheld camera, and often the camera sways like the operator is having an attack of vertigo, or wants the viewer to. The performances here are stiff and the dialogue contrived.

I felt bad for Kubeldis; she’s given a difficult role to work with and her inexperience shows through, most notably in her line reading which sounds forced and not at all natural. It’s the kind of part that would be difficult for a trained professional; for a tyro making her first film appearance, it’s nearly impossible and at the very least, a hell of a lot to ask of a novice. Kubeldis has some moments where her naturally sunny disposition are infectious, but she can’t really maintain it enough to elevate the movie, which sorely needed it. She shows plenty of potential though so I hope she doesn’t get discouraged after making this film.

There are enough moments in the movie that are worthwhile that I can barely recommend it, but just barely. There are an awful lot of rookie mistakes both behind the camera and in front of it too. You can’t deny, though, that the intentions of the filmmakers were at least honorable and this is the kind of movie that we do need more of; I just would have appreciated a little more attention to detail though.

REASONS TO SEE: There are some moments that shine.
REASONS TO AVOID: Uneven and maudlin.
FAMILY VALUES: There is some mild profanity and violence.
TRIVIAL PURSUIT: Kubeldis, who plays the blind Maria, is blind herself in real life and makes her onscreen acting debut here.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 8/2/20: Rotten Tomatoes: No score yet: Metacritic: No score yet
COMPARISON SHOPPING: Touched By an Angel
FINAL RATING: 5.5/10
NEXT:
Summerland

Helmut Newton: The Bad and the Beautiful


Newton’s Teutonic sensibility of beauty is both cold and sexy.

 (2020) Documentary (Kino LorberHelmut Newton, Grace Jones, Anna Wintour, Isabella Rossellini, Charlotte Rampling, June Newton, Hanna Schygula, Catherine Deneuve, Marianne Faithfull, Claudia Schiffer, Sylvia Gobbel, Phyllis Posnick, Carla Sozzoni, Nadja Auermann. Directed by Gero von Boehm

 

Helmut Newton is often described in terms of being a provocateur, an enfant terrible, the King of Kink, as Anna Wintour, the doyenne of Vogue magazine and one of his main employers, dubbed him. His photographs were often controversial, but always memorable.

He was born in Germany and grew up there during the age of the Weimar Republic, whose aesthetic influenced his work to a large extent. The rise of the Nazi party and their depiction of the human form (he admired Leni Riefenstahl’s work in Olympia although he bristles at the thought that she was an influence, seeing as he was Jewish and ended up fleeing Germany with his family). His was an essentially Teutonic aesthetic.

At the time he was working (he passed away in a car accident in Los Angeles in 2004 at the age of 83) he was recognized as an artist, an influence on how women were photographed (for better or for worse). Seen through the lens of 2020, perhaps we are less kind to him; often his pictures depicted women nude, and they were nearly always white (Grace Jones, the Jamaican singer, was one of the few exceptions), blonde, tall and statuesque. Often, they were posed in bondage gear, or in demeaning poses – there was often an element of S&M to his oeuvre – and his models often glared defiantly at the camera, a cigarette dangling petulantly from lips heavily painted with lipstick, smoke wreathing the lower part of their jaw.

His work hasn’t aged well in the sense that we are a different culture now; even though his portraiture depicted women as being strong and in control in most  occasions (and many of his models interviewed here said that even posing butt naked they felt safe and strong when posing for him) but many consider him a misogynist; certainly feminist Susan Sontag, who appeared with him on a French talk show (shown here) pointedly made the accusation, which he denied. “I love women” he protests, to which she responds “That doesn’t impress me. Misogynists always say they love women. Executioners love their victims.”

I suppose I would agree with the criticisms, except that nobody seems to be criticizing Robert Mapplethorpe, a contemporary, for shooting men in the same manner. There is a double standard here, reversed. There are those who say that it’s about time; as my mother might say, two wrongs don’t make a right.

Von Boehm, a veteran of German television, chooses not to make this a biography; Newton himself jokes during one of his archival interviews that “photographers are boring…if you want to know all that (details about his life and influences), I’m saving that for someone who has a lot more money than you.” Like many artists, he prefers to let his work speak for itself.

We mostly hear from the women in his life – his wife June (mostly in audio clips), Wintour, gallery curator Carla Sozzoni and a host of women who posed for him over the years; Jones, actresses Charlotte Rampling, Isabella Rossellini, Catherine Deneuve and Hanna Schygula, models Claudia Schiffer, Nadja Auermann and Sylvia Gobbel, and singer Marianne Faithfull. Most of them praise the photographer, although Jones admits with her typical candor “He was a pervert. That’s good; so am I.”

The film is hagiographic in that it really doesn’t address the criticisms – valid as they are – about his depiction of women. His wife describes him as a “naughty boy who grew up to be an anarchist” which is about as close to a description of who he was as you are likely to get. The filmmakers seem to be trying to allow the viewer to develop their own opinions about his work, but there isn’t enough of an opposing viewpoint to allow for an informed opinion. The images of Newton’s work are all that is offered, in the end, to consider and there is definitely an artistic vision at work here. Whether you believe it is art or misogyny is going to depend on you.

REASONS TO SEE: The images are compelling.
REASONS TO AVOID: Not really biographical so much as an exhibition of his work.
FAMILY VALUES: There is lots of nudity, some sexuality and a fair amount of profanity.
TRIVIAL PURSUIT: Newton’s ashes are interred three plots down from Marlene Dietrich in Berlin.
BEYOND THE THEATER: Virtual Cinematic Experience
CRITICAL MASS: As of 8/1/20: Rotten Tomatoes: 65% positive reviews. Metacritic: 66/100.
COMPARISON SHOPPING: The Times of Bill Cunningham
FINAL RATING: 6.5/10
NEXT:
Opus of an Angel

The Rental


Beware of dark shadows.

(2020) Horror (IFC Midnight) Dan Stevens, Alison Brie, Sheila Vand, Jeremy Allen White, Toby Huss, Anthony Molinari, Connie Wellman. Directed by Dave Franco

 

The Internet Age has given us, among many other ostensibly helpful programs, Air BnB; the ability to rent out our homes as vacation properties. Millions take advantage of the program, which is kind of a crap shoot; when it works out, you’ll find yourself in a much more comfortable environment than a hotel, and generally for a lot less. When it doesn’t, you can end up in an absolute dump – or with an owner who might not be altogether benevolent.

A pair of 30-something couples – start-up entrepreneur Charlie (Stevens), his hot-tempered and less successful little brother Josh (White), Charlie’s wife Michelle (Brie) and Josh’s girlfriend Mina (Vand), who also happens to be Charlie’s business partner. With a big project looming on the horizon, Charlie and Mina figure a weekend of R&R would be just the thing before several months of long hours and stressful deadlines become the norm for both of them. They find what looks like an ideal seaside home.

There are some issues; when Mina tries to rent the property, she’s turned down. When Charlies tries again an hour later, his rental is accepted. Mina, who has a Middle Eastern last name, cries racism and confronts the caretaker Taylor (Huss) with her accusations; he neither confirms nor denies them, but informs her that he isn’t the owner but the brother of the owner who is rarely home to use the property.

Although the property seems absolutely perfect, with a hot tub overlooking the ocean and all the modern amenities, there is a feeling that something is off. For one, Taylor comes off as kind of a racist creep. For another, there’s the locked door with an electronic lock which just smacks of “something to hide.” As the weekend wears on, the underlying tensions between the two couples begin to surface as the bickering and accusations start. When Mina discovers a closed circuit miniature camera in the shower head, she realizes that they are being watched, and that someone is getting their jollies watching the two couples take molly, fool around and bicker. There’s someone watching them and that generally isn’t a good thing.

Franco, who co-wrote the film with mumblecore legend Joe Swanberg, sets the film off as a slow burn, gradually building the tension until the climax, although that climax takes off in an unexpected direction, like an RC airplane with a faulty rudder. What starts off as an amazing psychological horror film and character study ends up during the last 20 minutes as a more traditional visceral horror film which is somewhat disappointing.

Disappointing because the movie shows the vulnerability of renting from a site like Air BnB; we put out trust in homeowners based on a few good ratings. If those owners turn out to be homicidal maniacs, we have no way of knowing or preparing and certainly no way of protecting ourselves. It’s a chilling thought and one the movie exploits early on before turning itself into a standard slasher film, complete with a too-long coda setting the film up as a potential franchise.

As an actor, Franco relates well to his cast and they do good work here. Most surprising was White, who gives Josh a nuanced character; unselfconfident after his violent temperament had landed him in trouble with the law earlier in life especially given his brother’s financial and personal success, he still has a hair-trigger temper which surfaces late in the film. Most of the rest of the way he seems like a genuinely sweet guy with difficulty believing in himself.

Slasher fans will find the movie a little too slow-developing for their tastes (unless they love psychological horror films that build gradually as well) and the frenetic ending will disappoint fans of psychological horror. Nevertheless this is a strong debut from Franco and while it isn’t likely to have the impact that his brother James’ debut did, it makes for some marvelous summertime genre viewing.

REASONS TO SEE: A true slow burn. The cast is terrific, but White is a real find.
REASONS TO AVOID: The plot is just too ludicrous to ignore.
FAMILY VALUES:  There is profanity, drug use, sexuality and graphic violence.
TRIVIAL PURSUIT: Alison Brie is married to Dave Franco, who is making his feature directing debut here.
BEYOND THE THEATER: Amazon, AppleTV, Google Play, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 7/30/20: Rotten Tomatoes: 73% positive reviews; Metacritic: 63/100.
COMPARISON SHOPPING: Crawlspace
FINAL RATING: 7/10
NEXT:
Helmut Newton: The Bad and the Beautiful