All We Had


Have a Coke and a smile.

Have a Coke and a smile.

(2016) Drama (Gravitas) Katie Holmes, Stefania Owen, Richard Kind, Luke Wilson, Mark Consuelos, Eve Lindley, Siobhan Fallon, Katherine Reis, Judy Greer, Richard Petrocelli, Odiseas Georgiadis, Michael Cavadias, Lolita Foster, Tim Markham, Osh Ghanimah, Randy Gonzalez, Milly Guzman, Rahmel Long, John McLaughlin, Amelie McKendry, Aly Brier. Directed by Katie Holmes

 

Statistically speaking, women make up the majority of the poverty class. Statistics however do not tell us the entire story. Each number on that sheet is a person, a person with a story and a person who has been under unimaginable stress. Unimaginable…unless you’ve lived it.

Rita (Holmes) hasn’t exactly had a sterling track record when it comes to men. She’s made a lot of bad choices and now, in 2008, she is fleeing her latest boyfriend disaster along with her 15-year-old daughter Ruthie (Owen). She sells her TV set and hits the road, hoping to make it to Boston where she and her daughter dream of having a two-story house with a pool. Given that the economy is about to crash and burn, it isn’t a very realistic dream but it is a dream nonetheless.

The two shoplift when they need to until the car finally gives out in a small town. A kind-hearted diner owner named Marty (Kind) goes the compassionate route when Rita and Ruthie fail at the dine and dash scam and gives Rita a job waitressing along with his transgender niece Peter Pam (Lindley).

Ruthie turns out to be quite the smart cookie and shows signs of doing really well in school, but tries to fit in with the wrong crowd. Rita hooks up with an unscrupulous realtor (Consuelos) who puts her in a foreclosure house; Rita doesn’t realize the terms of her mortgage are predatory and as business begins to dry up at the diner as the town is hit by unemployment and foreclosures, Rita and Ruthie realize they are about to lose their home.

Still, there is Lee (Wilson), an alcoholic widower who is also the town dentist who has taken a shine to Rita, whose former beau has since hit the road. Rita, who has a history of running away at the first sign of trouble, wants to stay in town. Ironically it is Ruthie, who has been the more mature one in the relationship, who wants to leave. Rita is finally getting her act together and recognizing her own issues, but is it enough and in time to salvage her relationship with Ruthie?

This is Katie Holmes directing debut and while it isn’t particularly an auspicious one she doesn’t disgrace herself either. The movie is pretty much shot by the numbers which isn’t necessarily a bad thing. The mistake a lot of first-time directors make is trying too hard to make a mark by using unusual shot setups or narratives. While the narration by Owen is occasionally off-putting, the story is told in a straightforward manner which is at least from this quarter well-received.

There is more than a passing physical resemblance between Holmes and Owen; they look very much like mother and daughter (although the running joke in the movie is that they are mistaken for sisters) which does a lot to add to the realism. One of the things I like about the script is that Ruthie isn’t as worldly as she thinks she is, which again is somewhat realistic when looking at teens, particularly teen girls. The roles of the two women move towards each other; as the movie begins, Ruthie is the mature one. As the movie ends, it is Rita who has that mark.

You’re not used to seeing Holmes in this kind of role; it is gritty and often unpleasant. She wears too-short skirts on dates and blue eyeliner without a whole lot of other make-up; it’s kind of a white trash look. It isn’t the most attractive you’ll see Ms. Holmes, but it is a challenging role for her and I for one am glad to see her stretching a bit, even if she had to direct herself in order to do it.

Kind is one of those actors we tend to take for granted; he always seems to reflect a real honest humanity that genuinely makes me like him. It’s nice to see him have a meatier role than he usually gets. Wilson also is one of those genuinely nice-guy actors who when he gets a chance to play one seems to hit it out of the ballpark and he does so here. In a movie in which Rita starts off a cynic “trust nobody” sort, it’s a smart move for Holmes to pepper her cast with actors who reflect genuine warmth and goodness.

It should also be noticed that the film deals with the transgender issue pretty honestly if a bit over-the-top. There’s a fairly shocking scene in which some of Peter Pam’s tormentors go to the next level. It is a situation all too many transgenders have to face in reality, a situation that doesn’t appear to be changing anytime soon particularly now.

One of the big problems with the movie is that the pacing is uneven. Some scenes feel rushed and seem to fly by; others seem to stretch out for uncomfortably long periods. A surer hand in the editing bay might have helped here. Also, the script doesn’t benefit by seeing all the major issues that Rita and Ruthie face getting neatly solved one after the other. Anyone who has lived hand to mouth as these ladies do will tell you that it really doesn’t work that way in real life. Some problems don’t have neat solutions.

I don’t know that Holmes has a bright future as a director, but I think she might. Certainly she made a movie that is entirely watchable and while it isn’t perfect, she acquits herself pretty well as a first-timer. I do like the point of view that she takes as a filmmaker and I like that she’s willing to take risks as an actress. I hope that she plays it a little less safe next time as a director.

REASONS TO GO: An unflinching look at women in poverty. This is a very different role for Holmes.
REASONS TO STAY: The pacing is somewhat erratic. Problems are too easily solved here which isn’t very realistic.
FAMILY VALUES: There is some profanity, drug use and sexual situations.
TRIVIAL PURSUIT: The Anne Weatherwax novel this is based on was endorsed by no less than Oprah Winfrey.
CRITICAL MASS: As of 12/9/16: Rotten Tomatoes: 39% positive reviews. Metacritic: 49/100.
COMPARISON SHOPPING: Mermaids
FINAL RATING: 6/10
NEXT: Stevie D

Advertisements

Surviving Me: The 9 Circles of Sophie


A little less-than-enthusiastic nuzzling.

A little less-than-enthusiastic nuzzling.

(2015) Coming of Age Drama (Self-Released) Christine Ryndak, Mira Furlan, Fredric Lehne, Vincent Piazza, Leah Yananton, Dennis Hill, Joshua Zirger, Kevin Murray, Mikayla Park, Patrick Welsh, Rusty Clauss, Marycarmen Wila, Joanna Becker, Stefan Stratton, Matt Cannon, Ellana Barksdale, Marjo-Riikka Makela. Directed by Leah Yananton

Finding ourselves is no easy task. At 20 years old, we are expected to know what we want to do with the rest of our lives and who we want to be. The truth of the matter is this; at 20 we don’t have the experience to really know ourselves, and how can you figure out who you want to be if you don’t know who you are to begin with?

Sophie Hofkind (Ryndak) is entering her junior year in college. She is a poet of some talent, having been taken under the wing of her English lit teacher Professor Slateman (Lehne). Her free-spirited BFF Keira (Yananton) seems to have a moral compass that points directly at her own crotch; she pretty much bangs anything that moves and has quite a sexual attraction to Sophie, even if Sophie chooses to ignore it – most of the time. Once in awhile, Sophie isn’t above leading Keira on.

Sophie also has Jimmy (Piazza), who wants very much to be her boyfriend. Each gave their virginity away to the other; while Jimmy is hopelessly in love with Sophie, Sophie keeps a bit of a distance with Jimmy. Oh sure, she has sex with him, but it wouldn’t exactly be called making love, at least not for her.

Sophie is in a good spot. She has mostly paid for her tuition through private funds, refusing to utilize her mom as help – the two have been estranged essentially since Sophie left for school. However, the thing about life is it rarely stays in the same place for long. Sophie develops more than a crush for Professor Slateman and the professor’s enigmatic wife Jacqueline (Furlan), which begins to take its toll on all of Sophie’s relationships. Also, she has begun to run out of money for her schooling, which means she’ll have to work and given that she has an 18 credit workload means that she’s going to have little time for socializing and sleep.

Still, Sophie is making a go of it, but she runs smack into some life-altering decisions that will change her life forever but also the lives of everyone around her. These are the kinds of things that give us a road map to “finding ourselves.”

If you ever wondered what being a young co-ed in the 21st century is like, the movie gives the old college try at showing you. Not being a young 21st century co-ed I can’t really vouch for the accuracy here, but I have to admit that the dialogue doesn’t always ring true here. While college students of both sexes have a tendency to mistake literary quotes and highfalutin’ language as depth, most discussions that take place between college students has little to do with the meaning of poetry. Rather, like most young people, college students spend more time discussing social activities than they do literature and philosophy.

Fortunately, the two leading ladies – Ryndak and Yananton – are both charming, smart, pretty and sexy. While Ryndak’s character isn’t always likable in that she is capable of great self-absorption, she has a light about her that makes the audience want her to do the right thing and end up happy. Yananton, who has to portray a girl whom the judgmental among us might call a slut – although I have issues with labeling a woman who happens to enjoy sex – makes the character the sort of girl you want to hang around with, even if you have zero chance of sleeping with her.

The supporting cast is pretty good as well, but delivering an exceptional performance is Mira Furlan. Most remember her from Babylon 5 and J.J. Abrams’ Lost but she is a superb actress who has never really connected with American audiences to the degree I thought she would. She doesn’t have a huge role here but it is a memorable one and Furlan fills it with personality and emotion. Her scenes with Ryndak in the cabin late in the film are really superb.

The problems that Sophie encounters are for the most part very realistic. Young women enter an environment where their sexuality is both encouraged and discouraged at once; it can be very confusing to navigate the treacherous waters of human relationships at any age, let alone so young. Sophie makes some poor choices here but she also makes a few good ones. Whether or not she has truly learned from them is an enigma; how often do we truly learn from our mistakes? Not always. Some less often than others, but all things considered I have high hopes for Sophie.

This isn’t a movie for everyone. It occasionally falls into pretentiousness but of the kind that might come with characters who have more intelligence than experience. Particularly near the end of the film, Yananton sets up some beautiful shots and utilizes some artwork throughout that’s very feminine to the point of being yonic (the “9” in the opening titles looks decidedly ovarian). In fact, it wouldn’t be far off the mark to label this a bit of a woman’s film, although that doesn’t (and shouldn’t) preclude men from enjoying it, but it certainly is aimed at young women with a young woman’s point of view. Using the structure of Dante’s Inferno to structure the movie is fairly interesting for the most part, but some of the segments feel like the subject matter was shoehorned in a little bit. An ambitious idea but one that I think ended up inhibiting the filmmaker somewhat.

Summing up, not all of this works but that’s okay – enough of it does that I can give it a reasonably solid thumbs up. The film is just beginning to hit the festival circuit, so keep an eye out for it at your local film fest. Don’t be surprised if it turns up at one near you.

REASONS TO GO: Interesting artwork with a decidedly feminine bent. Mira Furlan is a criminally underrated actress. Some really nicely set up shots.
REASONS TO STAY: The lead character’s behavior can be frustrating. Occasionally pretentious. Some of the dialogue doesn’t sound like 20-year-old girls talking.
FAMILY VALUES: Plenty of sex and some nudity, adult and sexual content, some foul language and drug content.
TRIVIAL PURSUIT: The film made its world premiere last weekend at the Hollywood Film Festival.
CRITICAL MASS: As of 9/30/15: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: :Mistress America
FINAL RATING: 6/10
NEXT: The Key