Murder on the Orient Express (2017)

Hercule Poirot is on the job!

(2017) Mystery (20th Century Fox) Kenneth Branagh, Michelle Pfeiffer, Johnny Depp, Daisy Ridley, Josh Gad, Penélope Cruz, Derek Jacobi, Leslie Odom Jr., Sergei Polunin, Lucy Boynton, Marwan Kenzan, Judi Dench, Olivia Colman, Willem Dafoe, Phil Dunster, Miranda Raison, Rami Nasr, Hayat Kamille, Michael Rouse, Hadley Fraser, Kathryn Wilder. Directed by Kenneth Branagh


Train travel has a certain romance to it. Strangers trapped in a metal tube, rumbling across the countryside. Anything can happen; anything at all.

Many might be familiar with the classic Agatha Christie novel, one of the most famous mysteries ever written. Some might be familiar with the even more classic 1974 movie based on it which starred such legends as Lauren Bacall, Ingrid Bergman, John Gielgud, Sean Connery, Anthony Perkins and Richard Widmark. This new remake stars Kenneth Branagh (who also directed) as the famous Belgian detective Hercule Poirot (played by Albert Finney in the original) who is returning to England following a grueling series of cases leading to a successful resolution in Istanbul – not Constantinople.

Taking the Orient Express back home, he is approached by Ratchett (Depp) who is looking for protection after receiving some threatening letters. Poirot, exhausted, turns down the case. The next morning, Ratchett turns up dead. The train is stuck after an avalanche buries the tracks. As crews arrive to dig the tracks out so the train might continue, Poirot must solve the case quickly but there are a number of suspects – everyone in the Calais coach had opportunity and some even had motive. Soon it becomes apparent that the murder has links to a famous unsolved crime of years past.

The Sidney Lumet-directed 1974 version to which this will inevitably be compared was a light-hearted romp with a Poirot who was quirky but undoubtedly a genius. This Poirot is more tortured than quirky, a man who realizes his own obsession with perfection will leave him perpetually disappointed in life and of course he is. This is a different Poirot than any we’ve ever seen onscreen, whether David Suchet of the excellent BBC series or Peter Ustinov of several all-star Christie cinematic adaptations which followed the success of Murder on the Orient Express. The tone here is certainly darker than we’re used to seeing from a Christie adaptation.

Michelle Pfeiffer turns in an extraordinary performance as the predatory divorcee Mrs. Hubbard, portrayed by Bacall back in 1974. While Bacall was loud-mouthed and brassy, Pfeiffer is intense and smart. Once again the characters are very different although there are some recognizable similarities. Pfeiffer twenty years ago was one of the most beautiful women in Hollywood which she remains; that beauty often overshadowed her acting talent which is considerable. Although not in the league of Meryl Streep (who is in a league of her own), she is one of the four or five best American actresses working in film today.

Most of the rest of the cast do at least adequate jobs. Depp is as restrained as he’s been in a decade, playing Ratchett as a thug more so than Widmark did in the same role. Dame Judi Dench is, well, Judi Dench. She brings dignity and a regal air to the role of Princess Dragomiroff. Penélope Cruz has a thanklessly un-glamorous role that she makes her own.

I should mention the cinematography. The 1974 film primarily took place aboard the train. Certainly the Orient Express is the star and cinematographer Haris Zambarloukos takes great pains to present her from every angle conceivable. Occasionally he goes a bit overboard – an overhead shot in one of the train’s cars gives us an uncomfortably long view of the tops of the actors heads – but he also manages to make the snowy Yugoslavian countryside look positively idyllic.

Let me be plain; this film is not as good as the 1974 version and I don’t think Branagh had any illusions that it ever could be. However, it is different than that 1974 version and one that is just as valid. You may not love this film in the same way that you loved the original but there is a good chance you’ll at least respect it. You may even want to see it more than once.

REASONS TO GO: Fans of the 1974 version will find the approach here very different. Branagh and Pfeiffer are outstanding. The cinematography is gorgeous.
REASONS TO STAY: The tone here is much darker than the 1974 version. This isn’t nearly as good as the original which it will inevitably be compared to. You don’t get as good a sense of the era it is supposed to be set in.
FAMILY VALUES: There is some violence as well as violent thematic elements.
TRIVIAL PURSUIT: The song played over the closing credits was sung by Michelle Pfeiffer and the lyrics written by Branagh.
CRITICAL MASS: As of 1/20/18: Rotten Tomatoes: 57% positive reviews. Metacritic: 52/100


Goodbye Christopher Robin

A lovely father, son and bear moment from the Hundred Acre Woods.

(2017) Biographical Drama (Fox Searchlight) Domhnall Gleeson, Margot Robbie, Kelly Macdonald, Will Tilston, Alex Lawther, Stephen Campbell Moore, Richard McCabe, Geraldine Somerville, Phoebe Waller-Bridge, Shaun Dingwall, Tommy Rodger, Sam Barnes, Mark Tandy, Richard Dixon, Nicholas Richardson, Ann Thwaite, Allegra Marland, Victoria Bavister. Directed by Simon Curtis


The Winnie the Pooh stories and children’s books are among the most beloved on the planet. Who doesn’t long for the simpler times of the Hundred Acre Woods, the love and affection of Eeyore, Piglet, Tigger and of course Pooh himself? When the books were originally written between the wars, they were tonic for the troops, taking a country that had lost so much in the Great War and if not healing at least allowing those wounded and broken by the horrors of World War I to escape it for awhile.

The author, A. A. Milne (Gleeson) was himself  a soldier in that war, fighting in such places as the Battle of the Somme. When he arrived home, he suffered from what was at the time called shell shock but is better known today as Post Traumatic Stress Disorder. The backfires of cars, popped champagne corks and balloons bursting were enough to trigger Milne with terrifying flashbacks to the war; London had become intolerable for him so he hauled his young bride Daphne (Robbie) to the countryside of East Essex and set about trying to heal.

Shortly thereafter, Daphne gave birth to Christopher Robin (Tilston) whom his parents dubbed Billy Moon. Like most upper class parents of the time, they enlisted a nanny – Olive (Macdonald) whom Billy named Nou – to do the bulk of the child rearing. Daphne disliked the country life immensely, missing the parties and the culture of London and eventually went back to the big city, with no firm date as to when she might return. To add to Milne’s misery, Nou was also obliged to return home due to a family crisis, forcing Milne to spend time with his tow-headed son.

Against all odds the two end up bonding and Milne finds solace in the little adventures that the two set up for Billy’s beloved stuffed bear Pooh. Milne becomes compelled to write the stories down, first as a poem and then as children’s books which prove to be wildly popular. Daphne and Nou both return home and the family basks in the success for a short time.

But the public clamors to meet “the real Christopher Robin” and the clueless parents aren’t above trotting their progeny around for personal appearances, interviews and publicity stunts without a thought of what this might be doing to the boy. With Milne writing sequels and the demand growing exponentially, the real Christopher Robin begins to wonder if he himself is as loved as the fictional one by his parents and the resentment begins to grow and grow and grow.

Considering the joy and lightness of the Pooh books, this is a dark tale indeed and parents thinking that this is suitable for young children brought up on the Disney versions of the characters should be dissuaded from that thought. The themes here are very serious and adult and some of the scenes of war and its aftermath are likely to produce nightmares in the very young.

The odd thing is that most of the people in this film are thoroughly unlikable; Daphne who is a whining harpy who is completely self-centered (it is well known that in reality her son refused to speak to her for the last 15 years of her life), A.A. (called Blue by his friends) who was also self-absorbed and nearly broken and even young Billie Moon acts out an awful lot (understandably). Only Nou comes off as genuine, sweet and caring; fortunately for us she’s also the narrator In fact Macdonald just about steals the show here but I think it’s because the character is a life preserver in a stormy sea of selfishness throughout the film.

Although the film is said to be “inspired by true events” I understand that the filmmakers stuck pretty close to the facts which makes this almost tragic. There are moments of magic, yes, but Milne’s condition is so often and so thoroughly thrust in our faces that after awhile we want to grab Curtis and yell in his face “WE GET IT!!!!” The story of the creation of one of children’s literature’s most beloved characters is not a happy one and while I admire the warts and all portrayal of the Milne family, at the end I was longing for an escape into the magic of the Hundred Acre Wood myself.

REASONS TO GO: Kelly Macdonald gives a marvelous performance as the nanny. The film really picks up momentum during the middle third.
REASONS TO STAY: Tilston is a bit overbearing. The filmmakers overplay the PTSD element.
FAMILY VALUES: There are depictions of bullying, war violence, brief profanity and themes about coping with the aftermath of war and of parental exploitation.
TRIVIAL PURSUIT: The real Christopher Robin had one daughter, Claire, who was born with Cerebral Palsy. She passed away in 2012 at the age of 56, 16 years after her father did.
CRITICAL MASS: As of 1/15/18: Rotten Tomatoes: 64% Positive Reviews. Metacritic: 54/100.
Daddy’s Home 2

Gangster Land

This is how you vogue, gangster-style.

(2017) Gangster (Cinedigm) Sean Faris, Milo Gibson, Jason Patric, Jamie-Lynn Sigler, Peter Facinelli, Mark Rolston, Michael Paré Sean Kanan, Al Sapienza, Don Harvey, Jason Brooks, Veronica Parks, Mark Krenik, Ronnie Kerr, Ryan Kiser, Danny Hansen, Joe Coffey, Shane P. Allen, Louis Fasanaro, Devin Reeve, Drake Andrew, James Bartz, Alan Donnes, Jody Barton, Kevin Donovan, Grace Fae. Directed by Timothy Woodward Jr


We Americans have always had a fascination with criminals. We have tended to idolize them and mythologize them, from Jesse James on down to Charlie Manson. We have a particular fondness for the gangsters of the Depression era; even though they were vicious, brutal men we can only help admire their brazen outlook as they lived life on their own terms – and often died by them.

This film is a fictionalized account of the rise of Al Capone (Gibson) as seen through the eyes of his top lieutenant “Machine Gun” Jack McGurn (Faris) who despite his name was actually of Italian descent; he changed it when he went into boxing because he could get more bouts as an Irishman than he could as an Italian. After the murder of his stepfather by a rival Italian gang, he decides to throw his lot in with Capone who had seen McGurn box and was an admirer.

At first McGurn is just hired muscle for the Italian gang under Johnny Torrio (Sapienza) but he rises through the ranks with his friend Al and when Torrio is killed, Capone takes control and begins a ruthless war with the Irish gang of the Northside for control of Chicago. The Northside Irish gang is led by Dion O’Bannon (Rolston) and after O’Bannon is murdered, George “Bugs” Moran (Facinelli). He meets and falls in love with dancer Lulu Rolfe (Sigler) who is unimpressed at first – McGurn doesn’t have much cash and never thought much about dressing stylishly. However he wins her over and she is okay with his lifestyle as a mobster. Now known as “Machine Gun Jack” for his preferred weapon for murder, the war between the two vicious gangs quickly and decisively escalates culminating in an infamous massacre on St. Valentine’s Day that will change Chicago forever.

There is a B-movie gangster vibe here that recalls some of the great movies of that era, of James Cagney, Edward G. Robinson and George Raft only with graphic violence and plenty of foul language. Cinematographer Pablo Diez uses interplay between bright colors and dark shadows to give the film a kind of updated noir aspect that I found interesting. While most noir feels more natural in a black and white atmosphere, Gangster Land gave the color a very noir-ish feel which is quite the accomplishment from where I’m sitting.

There is a bit of an amateurish feel to the movie that negates a lot of the good stuff. The dialogue feels wooden and unnatural and the lines are delivered in a ham-fisted and over-the-top manner that considering the caliber of some of the actors involved is a bit baffling. It’s like they’re channeling a community theater troupe at times and that feeling is a bit disonncerting.

This won’t compare well to the better film of the genre like The Untouchables for example but it’s rip-roaring entertainment in any event. This is, to my way of thinking, more George Raft than Jimmy Cagney. Those of you who love the gangster movies of the 30s and 40s will find this right up your alley particularly if your alley is dark, foggy and filled with shadowy men in fedoras and overcoats furtively carrying Tommy guns.

REASONS TO GO: The cinematography makes good use of light, shadow and color. Think of this as a nod to B movies with modern sensibilities.
REASONS TO STAY: The dialogue is well over-the-top and sounds a bit wrong-headed at times. There is a lot of scenery chewing going on.
FAMILY VALUES: There’s violence, gore, profanity and some sexuality.
TRIVIAL PURSUIT: McGurn eventually became a pro golfer. He was assassinated in a bowling alley in 1936, a day after the seventh anniversary of the St. Valentine’s Day Massacre.
CRITICAL MASS: As of 11/29/17: Rotten Tomatoes: No reviews yet. Metacritic: No reviews yet.

Te Ata

The nobility and majesty of the Chickasaw culture personified.

(2016) Biographical Drama (Paladin) Q’orianka Kilcher, Gil  Birmingham, Graham Greene, Mackenzie Astin, Brigid Brannagh, Cindy Pickett, Jenni Mabrey, Marissa Skell, Boriana Williams, Don Taylor, Robert Ousley, Gordon Fox, Tom Nowicki, Zac Abbott, Gail Cronauer, Bill Anoatubby, Jeannie Barbour, Lona Barrick, Robert Cheadle, Chandler Schultz, Stacy Cunningham. Directed by Nathan Frankowski


The treatment of the native culture by the American government is not one of our finest and proudest achievements. We have put them in ghettos, marginalized them as a people, infected them with disease and alcoholism and relegated their culture to near-extinction. Some extraordinary Native Americans however have helped preserve that culture for all of us to marvel at and learn from today.

In Oklahoma, the Chickasaw nation has produced a film about one of their favorite daughters. Mary Frances Thompson (Williams) was born on their reservation, the daughter of Chickasaw shopkeeper (and tribal treasurer) T.B. Thompson (Birmingham) and his Caucasian wife Bertie (Brannagh). She was a precocious child who was in love with the natural world and with the stories of her people told to her by her father and grandparents. As she grew older, she developed a wanderlust and her natural intelligence compelled her to attend the Oklahoma College for Women (today known as the University for Science and Arts in Oklahoma) and be the first Native American to graduate from there.

Under the tutelage of Miss Davis (Pickett), a drama teacher who recognizes the light in the young Native, she develops “the bug” for the stage and emigrates to New York over the strong objections of her father (who knowing the racism of whites wants to keep his daughter close to home where he feels he can protect her better) to try to get a part on Broadway. However, although she shows some talent, it is when reciting the stories of her culture to adoring crowds (as she did during a school recital) when the girl most shines. Taking the stage name of Te Ata Thompson (Kilcher), based on a nickname given to her as a child from a Maori phrase meaning “bearer of the morning,” she begins to tour around the country and indeed the globe. One of her performances attracts the notice of Eleanor Roosevelt (Cronauer) who would become a lifelong friend and supporter. However, even more importantly, it would attract the attention of academic Clyde Fisher (Astin) who would at first be enchanted by the stories but quickly by the storyteller. The two would fall in love but in order to get married they would have to get the blessing of a man who would be a most difficult man to sell on the idea – Te Ata’s father.

The movie has a feel like a Disney movie to a certain extent and not necessarily in a good way. The home life feels a bit like Main Street, USA – all theme park-idealized and perhaps not very real. Te Ata early on witnesses an act of racially-motivated violence which was probably quite common and later in the film is upset by the racist depiction of Native Americans in a cartoon, something sadly common at the time. However, the treatment of the Natives is mostly observed through a law forbidding the practice of native customs and dances during a time when the American government felt these practices were heathen and anti-Christian. While it’s true that this symbolizes the prevailing official attitude of the government, we don’t get a sense of the petty indignities suffered by Natives at the time other than through the cartoon.

We do get a sense of the rich cultural heritage of the Chickasaw through the stories, taken from the actual stories the real Te Ata performed in her lifetime. The stories are marvelous and are at the heart of the movie. However, I must caution that when Kilcher (who is also a talented singer and musician) performs the songs of the Chickasaw people, they sound almost like pop songs right out of American Idol and I had to wonder if the real Te Ata would have approved of these interpretations.

Kilcher, who wowed audiences with her portrayal of Pocahontas in the 2005 film The New World (which made her the youngest person ever to be nominated for an acting Oscar, a record that stood until broken by Quvenzhané Wallis in 2012) reminds us that she is an accomplished actress with her performance here. There was some criticism that the storytelling performances depicted were over-the-top and highly mannered, but that was the acting style of the era. Sadly, I haven’t been able to find any footage (or even audio) of her actual performances but maybe with a diligent search you might be able to see them firsthand.

The cinematography is pretty nifty with some beautiful images of the Oklahoma outdoors as well as the small town early 20th century life near Emet, Oklahoma where the real Te Ata grew up (and later near Tishomingo where her family moved to when she was a young girl). The movie is perhaps the most respectful of native American culture since Dances with Wolves but hopefully will inspire more films about the culture and lore of Native Americans which has been sadly underrepresented on the screen. However, my big objection to the movie is that it feels sanitized, like a Native American gift shop of trinkets that capture the elements of the culture that maybe the non-native population wants to see without capturing the real essence of it. Only when Kilcher is reciting her stories do we really feel that culture as a living, breathing entity and in those moments Te Ata really soars. I just wish there were more of them.

REASONS TO GO: The stories Te Ata tells are mesmerizing and touching. Kilcher delivers a fine performance.
REASONS TO STAY: Everything feels a little Disney-fied, the songs too poppy and the atmosphere a little too Main Street USA. The film could have used a little more kick.
FAMILY VALUES: There is some mild violence and depictions of racism.
TRIVIAL PURSUIT: In 1939 (after the period depicted in the film), Te Ata performed for King George VI and Queen Elizabeth of England at Hyde Park in New York at the behest of President Roosevelt, an event that was depicted in Hyde Park on Hudson in which Te Ata was portrayed by Kumiko Konishi.
CRITICAL MASS: As of 10/9/17: Rotten Tomatoes: 60% positive reviews. Metacritic: No score yet.
The Mummy (2017)

Brave New Jersey

Martians, Mexicans, it doesn’t matter: no illegal aliens!

(2016) Comedy (Gravitas) Anna Camp, Heather Burns, Tony Hale, Sam Jaeger, Erika Alexander, Evan Jonigkeit, Raymond J. Barry, Dan Bakkedahl, Grace Kaufman, Mel Rodriguez, Adina Galupa, Leonard Earl Howze, Noah Lomax, Matt Oberg, Sandra Ellis Lafferty, Jack Landry, Bill Coelius, Blaque Fowler, Roy Hawkins Jr., Helen Ingebritsen, Harp Sandman. Directed by Jody Lambert


Older readers are probably familiar with the story of the radio broadcast of H.G. Wells’ War of the World by Orson Welles and his Mercury Theater ensemble on Halloween night, 1938. A precursor to found footage films of more recent times, the show was done in the style of a news broadcast of the time, leading many Americans to believe that Martians were really invading New Jersey.

In Lullaby, New Jersey – population 506 – life is pretty idyllic despite the Depression. Sure, there are many stores that are closed but it is a pleasant small town and most people take care of one another. The town may be in for a windfall as local entrepreneur Paul Davison (Jaeger) has invented the Rotolator, a machine that can automatically milk up to 15 cows simultaneously. It will revolutionize dairy farming and ground zero for this mechanical marvel will be Lullaby.

The town’s mayor, Clark Hill (Hale) is a sweet-natured, easy-going fellow who is taken for granted by his constituents and is a figure of some amusement. Nonetheless he gives much of his energy and passion to the town, although some of it is reserved for Lorraine (Burns), the wife of Paul Davison for whom Clark has had a secret crush on for years.

It’s Halloween and Lorraine’s daughter Ann (Kaufman) and adopted cousin Ziggy (Sandman) who fled Poland ahead of Hitler’s invasion (which wouldn’t take place until the following year for those following along at home) are dressed up as Greta Garbo and Abe Lincoln, respectively. Most of the townspeople are looking forward to the extravaganza unveiling the Rotolator which will be the highlight of Halloween, complete with fireworks. However, things are about to change.

People listening in on the radio are shocked to discover that there are reports of meteorites landing near Grover’s Mills – a town about a three hour drive from Lullaby. They are further shocked when Martians rise from the meteorites (which turned out to be spaceships) and turn their death rays on the good people of Grover’s Mills. As more and more spaceships land to their horror, it appears as if the human race is about to be wiped off the face of their own planet.

Former World War I soldier Ambrose Collins (Barry) takes command from the overwhelmed Sheriff (Rodriguez) and somewhat indecisive mayor and girds the town to arm itself to make a last stand. Going all gung-ho is schoolteacher Peg Prickett (Camp) who longs for a much more exciting life than being a small-town schoolteacher and is finally getting her opportunity much to the amazement of her fiancée Chardy Edwards (Oberg). Other members of the town turn to Reverend Ray Rogers (Bakkedahl) who hasn’t had his faith for a long time but finds it in this moment of crisis. Still, with lovers turning on one another and fathers leaving their family standing in the driveway as they drive away without them, can the town survive the invasion or it’s aftermath?

Apparently many of the individual incidents depicted in the film actually happened, although not all in the same town. I can’t speak to that personally; I do know that there was large-scale panic when the broadcast aired back in ’38. Some may have seen the 1975 TV movie The Night that Panicked America which presented a much more realistic version of what actually happened that night.

The cast is mainly veterans of television and indie films and they acquit themselves well. Hale, one of the stars of Veep acquits himself particularly well; the role of the somewhat taken for granted mayor. It seems to be right in his wheelhouse. In fact, most of the actors don’t seem to be stretching all that far which is in some ways a tribute to the casting director for picking the right people for the right roles. It’s also a double-edged sword as none of the actors seem particularly challenged but that’s not necessarily a bad thing.

What is necessarily a bad thing is that the movie is riddled with anachronisms and errors in logic. For example, Collins is depicted in his 70s – yet World War I ended just 19 years earlier. Chances are he’d be in his late 30s or 40s if he had actually fought in the Great War. Lambert would have been better off making him a veteran of the Indian Wars of the 1880s which would have made him about the right age if he wanted to use Berry for the role.

There is also the use of words like “data” and “hustle” which weren’t in general usage in the Depression, as well as a song that the mayor is writing which sounds more apropos to the Greenwich Village coffee house scene of the 60s than the Big Band era. I would have liked to see some of that cleaned up a bit.

The humor is mainly gentle and low-key; this isn’t a movie for belly laughs. It pokes fun at the absurdities of human nature and particular how gullible we can be. It does so without being particularly political which in this day and age is a welcome respite.

The movie which I would characterize as reasonably entertaining but flawed loses steam towards the end of the second act, leading to a set piece that concludes the action. There are no real surprises here but the movie is inoffensive and has enough going for it that I can at least give it a recommendation. Not a hidden gem so much as a hidden sweater that you can wrap yourself in for an hour and a half and feel cozy and warm.

REASONS TO GO: The film possesses a gentle and low-key sense of humor. This is a treatise on human gullibility.
REASONS TO STAY: There are far too many errors in logic and anachronisms. The humor is a little bit cornball.
FAMILY VALUES: There is some profanity and comic violence.
TRIVIAL PURSUIT: Some of the town exteriors were filmed in Maury City, TN – a very small town that has the look of a Depression-era town and with many of the stores on the main street long out of business, the feel of one too.
BEYOND THE THEATERS: iTunes, Vudu, YouTube
CRITICAL MASS: As of 8/6/17: Rotten Tomatoes: 47% positive reviews. Metacritic: 41/100.
COMPARISON SHOPPING: The Russians are Coming! The Russians are Coming!
NEXT: Chronically Metropolitan

Live By Night

Ben  Affleck is all business.

Ben Affleck is all business.

(2016) Crime Drama (Warner Brothers) Ben Affleck, Zoe Saldana, Chris Cooper, Chris Messina, Brendan Gleeson, Elle Fanning, Robert Glenister, Matthew Maher, Remo Girone, Sienna Miller, Miguel J. Pimentel, Titus Welliver, Max Casella, JD Evermore, Clark Gregg, Anthony Michael Hall, Derek Mears, Christian Clemenson, Chris Sullivan, Veronica Alcino. Directed by Ben Affleck


What makes a good man do bad things? Sometimes it’s circumstance, sometimes desperation, sometimes it’s because they believe that they are doing it for a greater good. Once they a good man goes down that path however, how long before it changes him from a good man to a bad one?

Joe Coughlin (Affleck) went to the First World War as a good man. The son of a police captain (Gleeson), he returns home to Boston disillusioned and bitter, vowing not to follow orders ever again. He becomes a petty thief with a small gang but Coughlin is bold and smart and soon comes to the attention of Irish mob boss Albert White (Glenister). Coughlin wants no part of a gang but it’s one of those situations where he doesn’t have any attractive alternatives.

Unfortunately, soon White’s mistress Emma Gould (Miller) comes to Joe’s attention and the two start carrying on a rather dangerous clandestine relationship. Of course, it inevitably leads to tragedy and Joe goes to jail. When he gets out, Boston is essentially closed to him and he goes south to Tampa along with his right hand man Dion Bartolo (Messina) where they will oversee the rum running operation of Italian mob boss Maso Pescatore (Girone). There he meets two pivotal people – police chief Figgis (Cooper) and Graciela (Saldana); the former he forges a business relationship with and the latter a romantic one.

Joe’s interracial romance soon garners the attention of the Ku Klux Klan who makes life a mess for Joe. Joe appeals to Chief Figgis for help but the Klan’s most visible guy (Maher) happens to be the Chief’s brother-in-law. Although he admires and respects the Chief a great deal Joe uses blackmail photos of the Chief’s daughter Loretta (Fanning) to force the Chief to betray his brother-in-law.

Some time after that, Joe hits upon the idea of building casinos in Florida and begins construction on a magnificent one. Pescatore is happy because Joe is making him cartfuls of money and plenty of important people want to see the casino built. However, Joe is opposed by an evangelist – Loretta Figgis – who helps turn public and political opinion against him. Now Joe is in a great deal of hot water and finds himself once again between the two Boston mob bosses except that this time they are BOTH against him. Surviving this battle may not be possible.

Let’s cut to the chase; this is the weakest entry in Affleck’s otherwise stellar directing filmography. That doesn’t mean this is a terrible film, it’s just the most convoluted and least interesting of Affleck’s films to date. Don’t get me wrong; he’s a truly talented director and some of the scenes he has shot here are simply magic, but there aren’t enough of them to make a cohesive whole. Some of the blame lies at the feet of Dennis Lehane whose book this is based upon; the book itself was somewhat plot-heavy and it doesn’t translate to the silver screen as well as other books that the author wrote like Mystic River for example.

There are a ton of characters in here and a pretty high-end cast; that leads to a logjam of performances, some of which get short shrift and others seem to simply disappear in the bedlam. Standing out are Cooper as the bereaved and aggrieved chief of police, Saldana as the patient girlfriend and Messina as the loyal right hand man. All three get substantial screen time; not so much for fine actors like Miller, Gleeson and Greenwood among others.

And with all this, sometimes it feels like you’re riding a lazy Southern river that seems to be all bend and no destination. There are at least three false endings and when the final credits role there is a feeling of relief. The movie could have very easily ended at a much earlier point (I won’t say where but if Ben Affleck wants to e-mail me, I’d be glad to discuss it with him) and have been much more satisfying than the place it finally did end.

I’m hoping this was just a fluke and that on his next film Affleck returns to form. He has shown in his career that he’s a bit streaky, both to the positive and to the negative. He is capable of greatness and he is also capable of movies that are utterly forgettable. This falls in the latter category – it’s not horrible, not really cringe-worthy; just inconsequential. That’s not an adjective you want used in connection with your film and I’m sure Affleck doesn’t want to make films that even potentially could have that adjective used to describe them. I sure don’t like feeling that the adjective is apt.

This is a nice looking movie that captures the era convincingly to my mind. Affleck looks pretty chic in the tailored suits of the era and the ladies have that elegance that the 30s were known for. There is a fair amount of violence – some of it bloody – but you would expect that in a film about gangsters. There is also a moral ambiguity that might be troubling for some. When watching the Corleone family, you got a sense that they knew what they were doing was wrong but this was what they knew how to do. Coughlin seems to have more options and a moral compass but he still chooses to do things that are expedient rather than right. I suppose that’s true for a lot of us.

REASONS TO GO: Affleck remains a gifted director even on his less successful films.
REASONS TO STAY: A meandering plot sabotages the film.
FAMILY VALUES: There is some fairly graphic violence, lots of profanity and a little sexuality
TRIVIAL PURSUIT: This is the second movie based on a Dennis Lehane novel that Affleck has directed (the first was Gone Baby Gone back in 2007).
CRITICAL MASS: As of 2/24/17: Rotten Tomatoes: 34% positive reviews. Metacritic: 49/100.
NEXT: Marathon: The Patriot’s Day Bombing

The Handmaiden (Ah-ga-ssi)

In every life a little rain must fall.

In every life a little rain must fall.

(2016) Drama (Magnolia) Min-hee Kim, Tae-ri Kim, Jung-woo Ha, Jin-woong Jo, So-ri Moon, Hae-suk Kim. Directed by Park Chan-wook


What a tangled web we weave, so the saying goes, when we set out to deceive. Deception can take many forms from little white lies to complete fabrications. We can invent ourselves as someone who we are not; we may have the best of intentions or the worst when we assume a different persona. At the end of the day, however, we end up unable to escape the person we actually are.

Sookee (T-r. Kim) is a pickpocket and petty thief in the Japanese-occupied Korea of the 1930s. She is part of a criminal gang led by the self-stylized Count Fujiwara (Ha), a con man from humble birth. He has managed to set up Sookee in the position of a handmaiden to a noble Japanese lady living on an extensive estate far from anywhere in the mountain woods of Korea. The Count has designs on the lady to marry her and then have her declared insane so he can inherit her considerable wealth.

Lady Hideko (M-h. Kim) is a virtual prisoner on her estate. Her cruel Uncle Kouzuki (Jo) is a pervert who gets his rocks by having her dress up as a noble Japanese woman of ancient times and reading pornography to he and a group of like-minded friends. Kouzuki intends to wed Hideko soon in order to inherit her considerable wealth as he has none of his own.

Sookee has one job; to convince her new employer that the affections of the Count are genuine and that she would do well to marry him. However, Sookee has a revelation that changes everything and suddenly the players in this very dangerous game reveal that none of them are exactly who they are perhaps perceived to be.

Park, director of the notorious Oldboy, has a thing about pushing boundaries and he shoves quite a few here, although only relatively. He based this loosely on Sarah Waters’ novel Fingersmith, transplanting the action from Victorian England to occupation-era Korea. This adds the element of cultural clash to the story, one which is not only welcome but incredibly intriguing.

Park has a terrific visual sense and the cinematography here is downright gorgeous, from the lacquered interiors of Hideko’s strange mansion – constructed by an Anglophile, it has an English main house with a very Japanese wing added on – to the rain and moon shrouded forests of the estate. It is a visually lyrical film, dancing to a beautiful soundtrack by Yeong-wook Jo. I thought the soundtrack elevated the film, although parts were cribbed from The Thin Red Line which is a war movie of a different sort.

Here the war is of sexual tensions and there is plenty of it between the three main characters. The movie is told in three parts; the first and longest is Sookee’s point of view, the second that of Hideko and the third a kind of epilogue. In fact, the movie feels a little bit long but that might be that the first chapter is almost a film in and of itself and the second two chapters are almost added on in feel when you’re watching it but once the film is over you realize the story couldn’t be told any other way and the whole thing makes sense, but you may end up checking your watch a little.

If you do, it won’t be because of the performances of the three main leads. Both of the Kims and Ha generate an enormous amount of heat between them in a strange sort of love triangle; Jo gets to play a Snidely Whiplash-sort of character with an ink-stained tongue and a pervert’s glee in all things sexual. The story takes a number of turns and what really makes it work is that the performances of all of the actors is consistent throughout the varied plot changes and all of the performances make sense.

This is a movie with a good deal of texture; not just in the lush gardens of the estate or the richly decorated interiors but also in the sense that the movie is deeply sensual not just in a prurient way but also in a beautifully sensual way – quite artistic in the use of the naked female body. Some who are easily offended by sexuality will find this abhorrent but I must say that if sex can be art, this is an example of that. The book, which I have not read, utilizes narration from the three main characters; Park delivers that in a masterful way that simply reinforces that he is one of the world’s most exciting and pre-eminent directors. At this point, he is a director I’d go out of my way to view his film. There aren’t a lot of directors I’d say that for.

In many ways this is a beautiful movie and in many ways this is an ugly movie. The two often co-exist side by side in real life as well. One can’t have one without the other, after all. You may well find this a beautiful film to look at, and it is. You may well find this an ugly movie to consider, and it is. It is at the nexus of the two that we often find great art, and it is.

REASONS TO GO: Beautiful cinematography and shot construction throughout the film. The musical score is just amazing. The performances among the three leads are strong throughout. The film is quite textured.
REASONS TO STAY: It’s just a little bit too long, or at least I perceived it to be.
FAMILY VALUES:  Lots of graphic sex and nudity as well as some profanity (much of it sexually oriented), rape and some graphic violence.
TRIVIAL PURSUIT:  Because two different languages (Korean and Japanese) are spoken in the film, the subtitles are in White (Korean) and Yellow (Japanese) so that English-speaking
CRITICAL MASS: As of 11/9/16: Rotten Tomatoes: 94% positive reviews. Metacritic: 84/100.
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