Where is Kyra?


The face of Michelle Pfeiffer tells the whole story.

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

 

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

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

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

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

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

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

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

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

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

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

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

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Finding Your Feet


Dancing never gets old.

(2017) Dramedy (Roadside Attractions) Imelda Staunton, Timothy Spall, Celia Imrie, Joanna Lumley, David Hayman, Phoebe Nicholls, Josie Lawrence, John Sessions, Indra Ové, Richard Hope, Sian Thomas, Victoria Wicks, Marianne Oldham Jacqueline Ramnarine, Fran Targ, Paul Chan, Alex Blake, Frankie Oatway, Peter Challis, Patricia Winker, Karol Steele. Directed by Richard Loncraine

 

For some reason, the British seem to be very adept at putting out movies about people approaching their golden years with a certain joie de vivre. From Waking Ned Devine through The Best Exotic Marigold Hotel through this Richard Loncraine-directed entry, they have taken a fairly formulaic plot and elevated it somewhat through the casting of some of the best actors of their generation and created a style of movies that is squarely aimed at the AARP set here but should have plenty of appeal to those with older parents or grandparents.

Lady Sandra Abbott (Staunton) is executing the party celebrating the knighting of her retiring husband (Sessions) with all the discipline of a five-star general. Things are going swimmingly until she discovers hubby canoodling in the cloak room with her best friend Pamela (Lawrence). Furious and humiliated, she moves out into the home of the only person who’ll have her; her big sister Bif (Imrie) who is about as opposite of the snooty, class-conscious Sandra as it’s possible to be. Bif is a free-spirited Bohemian who hasn’t strayed far from her hippie roots.

At first the two are eternally at odds and despite the good-hearted attempts of Bif to cheer her sister up, Sandra is a lot more wounded than she’s willing to admit. Finally Bif manages to convince her to attend the dance class she attends at the local community center. There she meets Jackie (Lumley), the lone patrician in the group; working class Ted (Hayman) and more to the point, Charlie (Spall) who is a good friend and confidante of Bif and who is a bit of a handyman for her. Naturally, Sandra despises him.

Of course you can guess where the film is going to go from there and – spoiler alert – it does just that. All the elements are there; mortality, Alzheimer’s, late life romance and a big competition in which the elderly will be taking on much younger groups. At times the movie seems to make a joke out of Bif’s sexual activity – as if sex started with the young – but to Loncraine’s credit he seems to prefer giving the seniors a sense of normalcy which is of course reality – the elderly do have sex from time to time, they talk about it in bawdy terms from time to time, they do physical activities and they are generally aware of current trends. It feels like moviegoers have a tendency to prefer our retirees to be un-hip and sedentary. That’s also quite far from reality; there are lots of those who are 20 years my senior who are in far better shape than I am and who know more about rap and modern pop culture than I do.

This is a movie that makes a lot of hay from the charm of the leads. Spall often plays venal roles but given a genuinely nice guy part to play he fills the screen with a brilliant smile and authentic warmth. You end up rooting for Charlie and late in the movie when he makes a critical relationship error, you can’t help but feel for the guy. There’s a scene that takes place shortly after a visit to a loved one in a nursing home in which he sits in his car and slowly his demeanor is stripped away and his sorrow and grief come to the fore. It’s the kind of scene in other hands would feel maudlin and manipulative but instead you find yourself misty-eyed as well.

I have to admit that every time I see Staunton onscreen I think “Dolores Umbridge” and that’s a tribute to her very underrated performance in that role which many know her best at, but I suspect many Americans would be astonished to discover that she has a long and honored career in musical theater. When she gets to dance she shows the kind of grace and style that comes from being a musical theater star and if the movie makes a tactical mistake it’s that they didn’t give her more opportunities to dance. Imrie similarly is pixie-ish and eye-twinkling and is a joy in this role. Is it any wonder that they were all snatched up by the Harry Potter franchise?

Da Queen is an absolute sucker for this kind of movie and it hit all her feels in spades. She loves a good cry during the course of a movie and even more she loves to feel good leaving the theater and she got both of those check marked by this film. I’ll be really honest with you; I didn’t have very high expectations for this movie and I was pleasantly surprised. Yes, this is for sure aimed at an older crowd but don’t let that stop you from seeing a movie that will make you feel good after seeing it. Goodness knows that we could all use all the good feelings we can get.

REASONS TO GO: Spall, Staunton and Imrie all turn on the charm. The film is genuinely heartwarming without being too manipulative.
REASONS TO STAY: The story is somewhat predictable.
FAMILY VALUES: There is brief drug use, sexually suggestive material and occasional profanity.
TRIVIAL PURSUIT: Spall and Imrie played husband and wife in The Love Punch.
CRITICAL MASS: As of 3/31/17: Rotten Tomatoes: 77% positive reviews. Metacritic: 54/100.
COMPARISON SHOPPING: Unfinished Song
FINAL RATING: 7.5/10
NEXT:
Caught

For the Love of George


Nothing says Valentine’s Day like cuddling with your honey and a movie.

(2017) Romantic Comedy (Vision) Nadia Jordan, Rex Lee, Rosanna Arquette, Tate Donovan, Kristen Johnston, Shaun Sipos, Petra Bryant, Henry Hereford, Ruth Connell, Adrienne Whitney, Marina Sirtis, Paul Provenza, Ben Gleib, Tracy Ransome, Sandro Monetti, Jo Price, Ron S. Geffner, Danny Araujo, Valley Hintzen, Andrea Batista, Ian Mill, Laura Waddell. Directed by Maria Burton

 

One of the problems with romantic comedies is that although they are theoretically aimed at couples (and let’s face it, women in particular) they very rarely are the products of predominantly female creative sorts. That’s why it’s so refreshing to see a rom-com coming from a female writer-director who went out of her way to make sure that as many roles in the film’s behind the camera crew were filled by women. That gives this movie a much more authentic point of view of a female character than we normally get to experience.

Poppy (Jordan) has been going all out to prepare for her husband Stephen’s (Hereford) birthday, making a fantastic meal, baking a lovely cake and preparing for a romantic evening with rose petals on the bed, candles and sexy lingerie. When he calls saying that a rare bird had been spotted in the area (he’s an avid birdwatcher) she’s very much disappointed that he’s chosen to go out and find the bird but it is his birthday after all and he should spend it doing what he likes. After she hangs up, he calls her back and she realizes he’s butt-dialed her. And what she hears turns her world inside out and upside down.

Fed up with being the perfect wife to a man who is cheating on her, she decides to visit her former wedding planner Justin (Lee) in Los Angeles so she heads off to Heathrow and makes the long journey to Southern California to lick her wounds and figure out what happens next. While she’s there she sees a news story on George Clooney, the world’s most eligible bachelor (this is set some years ago) and the charity work he’s doing. The more she hears, the more she realizes that George is THE perfect man and sets out to go get him for herself.

Undaunted by reality, she goes to a bar that Clooney frequents but he’s not there that day. She also tries to attend a party that he’s invited to thrown by her new friend Marcy (Whitney) from Texas but the world’s worst Uber driver torpedoes her plans to meet him. After that disappointment, she goes to a bar to drown her sorrows and runs into a handsy Hollywood producer who tries to take things way too far – a scene that I’m sure resonates with a lot of women both in Hollywood and, well, everywhere else I imagine. Concerned that she has become obsessive about George, Justin refers her to a therapist (Arquette) who listens to her tales of woe with a somewhat skeptical ear.

She starts going out with Luke (Sipos), a vendor of vitamin juices who seems too good to be true – and is. However, she’s bonded with not only Justin but Marcy and Irina (Bryant), Justin’s Russian housekeeper who while at first rubbing Poppy the wrong way eventually finds common ground with her. The strong bonds of sisterhood are very much a theme here. However all is once again thrown into turmoil with the arrival of Steven, looking to win his wife back. On top of that, news of George Clooney’s engagement has put her into a tailspin. Will she give him a second chance or will she embrace the happiness she has found in Los Angeles and continue to live the life she has chosen for herself?

This is very much a woman’s movie in that one of the central themes is empowerment; that women shouldn’t necessarily live for their husband and/or children but also live for themselves. Poppy as a character starts off very nurturing and giving but ends up standing up for herself in ways she probably didn’t know she could. I wouldn’t say that most of the straight male characters in the movie are jerks but most of the important ones are which might ruin the romantic mood for the straight guy in your life.

Then again, most of the characters here aren’t particularly well drawn out with the exception of Poppy. Justin is the gay Asian male who is sexually aggressive and a little bit catty but a loyal gay friend; Irina is the Russian immigrant with vague ties to the mob and an affinity for vodka. Luke is a dumb as a rock hunk who in typical male fashion gives little thought to Poppy’s needs except to use them as a means to get what he wants. Marcy is a Texas hottie with a thick drawl and a big personality, while Sharon (Sirtis) who is Poppy’s boss at the online publication she writes for (yes, Poppy is a writer – isn’t everyone in indie films?) is a high-strung English version of a New York Jewish lady who kvetches with an English accent.

I would have liked to have seen fewer clichés and characters – and plot points – that were a bit more realistic. Considering what Burton was trying to do here, I think it would have benefited her to rather than go for the laughs at the expense of the story to have emphasized the romance and the characters. The empowerment message would have gone a lot farther I think had she done that.

I’m not so sure this is an ideal Valentine’s Day movie – Poppy is a little too hung up on Clooney and the flaws a bit too glaring for an unqualified recommendation, but certainly there are some aspects here worth cheering for and hopefully Burton will learn from this film and go on to make some movies that really do send positive messages that young women in particular need to hear at this point in time.

REASONS TO GO: This is very much of a feminine perspective with a side of empowerment.
REASONS TO STAY: There are a few too many stereotypical characters and plot devices.
FAMILY VALUES: There is some mild profanity and sexual situations.
TRIVIAL PURSUIT: Burton was inspired to write the movie after reading Don Cheadle’s book Not on Our Watch which details Clooney’s involvement with raising awareness of the genocide in Darfur and she realized that the world’s most eligible bachelor (at the time) was also an unusually sensitive and compassionate man. Two weeks later his engagement was announced and she had her idea for her film.
BEYOND THE THEATER: Amazon, Fandango Now, Vudu
CRITICAL MASS: As of 2/14/18: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Love Field
FINAL RATING: 5.5/10
NEXT:
The Millionaires’ Unit

Downsizing


Kristen Wiig and Matt Damon have no idea how small-minded people can be.

(2017) Science Fiction (Paramount) Matt Damon, Christoph Waltz, Hong Chau, Kristen Wiig, Rolf Lassgård, Ingjerd Egeberg, Udo Kier, Søren Pilmark, Jayne Houdyshell, Jason Sudeikis, Maribeth Monroe, Phil Reeves, James Van Der Beek, Alison J. Palmer, Tim Driscoll, Kristen Thomson, Kevin Patrick Kunkel, Patrick Gallagher, Linda H. Anderson. Directed by Alexander Payne

 

This is an example of a movie that doesn’t know what it wants to be. Alexander Payne is one of the finest filmmakers on the planet but I suppose even the best have off-projects. This is his.

In Downsizing, scientists looking at Earth’s environmental challenges of climate change and limited resources come up with a solution – smaller people. Norwegian scientists Dr. Asbjørnsen (Lassgård) and Dr. Jacobsen (Pilmark) make a startling breakthrough – a machine that can shrink people to about five inches tall. A colony is founded in Norway by Dr. Asbjørnsen and his wife (Egeberg) and leads to colonies for the downsized as the folks who have been shrunk are called.

There are some incentives to do that. Because their need for resources is less, their wealth is stretched much further. Someone who has $30,000 in savings can be a millionaire. Financially strapped couple Paul (Damon) and Audrey (Wiig) Safranek decide to take the plunge but at the last moment Audrey changes her mind, leaving Paul five inches tall and about to be divorced. Audrey gets half of everything in the settlement which means that Paul can’t live in the palatial mansion he’d purchased but has to move to an upscale condo while working as a phone salesman for Land’s End.

One of his neighbors is Dusan Mirkovic (Waltz) who is everything that Paul isn’t; outgoing, a bon vivant, adventurous and a risk taker. Dusan makes income on the black market, supplying luxury items like cigars and champagne for the various Downsized developments. Through Dusan Paul meets Ngoc Lan Tran (Chau), a Vietnamese activist whose political activities got her forcibly shrunk and a leg removed. She is walking around on a poorly constructed prosthetic that causes her to limp and is likely to cause some damage to her hips in years to come. Paul at first offers to help her get fitted for a better prosthetic but quickly finds the woman abrasive and pushy. He also finds that she has a generous soul that is all about helping those around her. Paul realizes that he has found a calling for himself, something he’d always missed as a normal-sized guy – but events in the larger world are putting all of his plans for his future into turmoil.

The first part of the movie seems to be a comedy and that’s how the movie was marketed but it really isn’t that. The movie seems to be an environmental call to arms but it isn’t that either. This simply put smacks of studio interference but the trouble is I’m not sure which part of the movie Payne is responsible for. The two sides certainly don’t integrate well.

That’s a shame because there are things to admire in both sides of the film. There are some very salient thoughts that this film forces the viewer to think about; there are also some genuinely funny moments. There was a chance to give the viewer a sense of wonder, seeing the world from a different perspective but Payne didn’t seize the opportunity and so basically the perspective is just the same as it would be from a normal perspective.

There are also terrible lapses in logic; the world of the very small isn’t well thought-out. The Norwegian colony should have had issues with insects and other pests; nope. We see butterflies from time to time but what about bees, wasps, mosquitoes, house flies? Not to mention beetles, bugs and spiders. It rains a lot of the time in Leisure World. Wouldn’t the rain drops seem bigger to people who are smaller? They look like regular rain though.

I also had trouble with the Ngoc Tran character. You can accuse me of cultural insensitivity if you like, but she is so pushy, so aggressive and so demanding that I can’t for the life of me figure out why someone as white bread as Paul would fall in love with her. It doesn’t make sense and the relationship is central to the movie.

I really wanted to like this movie and it had everything going for it; a terrific cast, a great concept and one of the best directors in the world. It just doesn’t work at all for me and has to be one of the biggest disappointments of 2017.

REASONS TO GO: The movie does have some thought-provoking moments. At least Payne doesn’t do what you expect him to in terms of where the plot goes.
REASONS TO STAY: The movie loses cohesion in the second half and nearly falls apart. There are too many lapses in logic.
FAMILY VALUES: There is a fair amount of profanity, some sexual references, graphic nudity and drug use.
TRIVIAL PURSUIT: The production crew used an actual Omaha Steaks plant for filming and employees were used as extras in the scenes filmed there.
CRITICAL MASS: As of 2/9/18: Rotten Tomatoes: 50% positive reviews: Metacritic: 63/100.
COMPARISON SHOPPING: The Secret World of Arrietty
FINAL RATING: 5/10
NEXT:
Permission

In the Shadow of Iris (Iris)


There are layers of deceit when it comes to sexual fetishes.

(2017) Thriller (Netflix) Romain Duris, Charlotte Le Bon, Jalil Lespert, Camille Cotin, Adel Bencherif, Sophie Verbeck, Héléne Barbry, Jalis Laleg, Violetta Sanchez, Gina Haller, Félix Cohen, Waël Sersoub, Benoit Rabillé, Antoine Bujolli, Mourad Frarema, Vincent Dos Reis, Olivier Galzi, Christian Ameri, Nicolas Grandhomme, Betony Vernon, Alexandra Langlais. Directed by Jalil Lespert

 

Who knows what is in a woman’s mind (or a man’s for that matter but that’s for a different review) behind the façade of civility? All sorts of things percolate; the woman who may seem to be a model wife may have cheating on her mind. The woman who seems proper and prim may indulge in fetishes and perversions that would shock you if you knew.

Iris (Le Bon) is the wife of wealthy Parisian banker Antoine Doirot (Lespert). They are at lunch one afternoon when she excuses herself for a smoke. When she doesn’t return, at first Antoine wonders if she didn’t decide to go shopping without saying goodbye but as the day wears on and there’s no sign of her he begins to worry…but then the call comes in on his smart phone complete with a photo of his wife tied up and gagged in some dark room. The ransom is high but affordable for someone like Antoine.

She is in the possession of auto mechanic Max Lopez (Duris) who not only is in financial trouble and dealing with a divorce, but is about to lose his home due to Antoine’s bank. Yet he is not a suspect right away; though he has a criminal record, nobody thinks he has the skills to pull something like this off. As the police detectives Vasseur (Cotin) and Ziani (Bencherif) look into the matter more deeply, it quickly becomes clear that all is not as it seems – and that nobody is as they seem in this twisted drama.

This French thriller has noir-ish elements as well as being heavy on the erotic. Playing heavily into the plot are bondage and S&M fetishes – one scene includes a dominatrix whipping the hell out of a main character’s back, almost into unconsciousness. There is sex on top of a murder victim by the murderer, and there are all sorts of references to marital infidelity, sexual violence and prostitution. This is most definitely not for family viewing, unless your family hangs out in leather clubs.

I’m not a prude but the eroticism feels a bit gratuitous to me. It doesn’t really make too much of a difference in the plot really but that’s neither here nor there. If you’re into S&M it’s fairly tame stuff compared to what you might find on some of the adult movie sites but more realistic than what you’ll find in the Fifty Shades movies.

The real problem here is that Lespert inserts flashbacks throughout the film to explain some of the things going on, but there’s no real way of telling you’re watching something from a different time until often later in the movie. It’s confusing as hell and the plot, convoluted already, doesn’t need that kind of confusion. Lespert is decent enough with the tension, keeping viewers into the movie but sometimes it’s truly hard to figure out what’s going on. It doesn’t help matters that Lespert and Duris look fairly similar and the only way to tell them apart is when Max is wearing his mechanic coveralls – which he doesn’t always do.

On the plus side the soundtrack is awesome with a lot of great pop and rock songs from France, England and the U.S. I’d go so far as to say that it may have the best soundtrack of any of the Netflix original films I’ve seen thus far. Still, if you’re looking for an erotic thriller, there is a lot going for this one. There’s also a lot going against it, to be fair. I think what it boils down to is whether you can tolerate the film’s flaws, are able to tolerate (or if you have a thing for) bondage and S&M, and if you don’t mind subtitles. If the answer to all of those are positive, definitely have at this one.

REASONS TO GO: Lespert does a fine job of maintaining tension. The soundtrack is excellent.
REASONS TO STAY: Some of the plot points are far-fetched. The flashbacks are often confusing.
FAMILY VALUES: There is nudity, sexual situations, brief language and violence.
TRIVIAL PURSUIT: This is a loose remake of the 2000 Hideo Nakata film Chaos. Initially this was going to be an American film but when no studio would finance it, the movie was shopped to other countries with a French production company footing the bill.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 1/26/18: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: The Disappearance of Alice Creed
FINAL RATING: 6.5/10
NEXT:
American Folk

Wonder


Julia Roberts with her new leading man.

(2017) Dramedy (Lionsgate) Jacob Tremblay, Owen Wilson, Julia Roberts, Izabela Vidovic, Mandy Patinkin, Noah Jupe, Bryce Gheisar, Elle McKinnon, Daveed Diggs, Ty Consiglio, Kyle Breitkopf, James Hughes, J. Douglas Stewart, Millie Davis, Ali Liebert, Joseph Gordon, Cameron Roberts, Nadji Jeter, Danielle Rose Russell, Erika McKitrick, Sonia Braga, Nicole Oliver. Directed by Stephen Chbosky

 

Going to a new school can be traumatic even in the best of circumstances. Throw in that you know – without any doubt whatsoever – that you are for certain going to be bullied. How much more traumatic does that make things?

Auggie (Tremblay) is in that exact situation. He’s not being bullied because of sexual preference, religion or race; Auggie has a disfiguring disease known as Treacher Collins syndrome. The effects of 27 surgeries besides making it necessary for Auggie to be homeschooled have allowed him to breathe and essentially survive but nothing really can change the deformities of his face. They are so pronounced that he’d rather wear an astronaut’s helmet to school which would merely mark him as weird than go barefaced which marks him as a freak.

His loving parents – Nate (Wilson), the cool dad we all wanted and Isabel (Roberts), the über-protective Mama Bear – are worried for him. His big sister, teenaged Via (Vidovic) is protective of him but has troubles of her own; her best friend Miranda (Russell) has suddenly shut her out and is off with a much different clique of friends. Forlorn, she signs up for drama class and meets a cute guy Justin (Jeter) who she crushes on and eventually the two begin dating.

Auggie, with his upbeat attitude and intelligence begins to make friends despite the hardships. Jack Will (Jupe) becomes his best friend although Julian (Gheisar) continues to torment him. Still all the people in Auggie’s orbit are trying to make it the best they can but it isn’t easy.

This is based on a bestselling children’s book by RJ Palacio who was inspired to write it when her son whom she had taken out for ice cream was brought to tears by the sight of a kid with Treacher Collins syndrome. The book is very heartwarming and teaches the value of accepting people as they are and the movie follows it pretty closely from a stylistic perspective.

The acting is solid – one might say wonderful – with Tremblay getting particular kudos. Child actors tend to be stiff and hammy but Tremblay plays it with a degree of naturalism that is refreshing. Yeah from time to time he says and does thing that come from the perfect kid school of filmmaking but that’s not on Tremblay, the actor. Considering he has to emote under layers of make-up, something some adults have trouble with, one has to really give the kid kudos. Most of the other performances are strong as well, although I would have wished for more Roberts. It seems a shame to hire her on for a role like this one and not have her in the picture more.

My issue is that a lot of the book – and the movie – is a bit too nice, suffering from too-good-to-be-truism. They all have their weak moments but it’s like the entire movie is populated from characters in a children’s show and it doesn’t feel real or authentic. I needed a little more of both to make this work for me.

Movies that are this emotionally manipulative tend to irritate critics but for some reason critics embraced this one. It got strong scores on Rotten Tomatoes (see below) and while it’s pretty much out of the awards consideration picture, it nonetheless got favorable reviews from both critics and consumers alike. I wish I could join them but this felt a little bit too bland and predictable for me to do so.

REASONS TO GO: Tremblay gives a nice, nuanced performance.
REASONS TO STAY: This is a bit too vanilla and predictable for my tastes.
FAMILY VALUES: There are scenes of bullying and some mild profanity.
TRIVIAL PURSUIT: The medical name for Auggie’s affliction is mandibulofacial dystosis.
CRITICAL MASS: As of 1/22/18: Rotten Tomatoes: 85% positive reviews. Metacritic: 66/100.
COMPARISON SHOPPING: Mask
FINAL RATING: 5.5/10
NEXT:
Strawberry Flavored Plastic

Uncle Gloria: One Helluva Ride


People are people; what’s on the outside is just gift wrapping.

(2017) Documentary (XLRator/Seventh  Art) Gloria Stein, Butch Rosichan, Dan Friedman, Steven Shulman, Susan Schaffel, Natalie Chasen, Larry Sands, Dawn Heber, RB Perlman, Ricki Perlman, Arlene Shaffer. Directed by Robyn Symon

 

Everyone has their own journey in life to take. Sometimes it seems to follow a set path but some journeys take us in unexpected ways to unexpected places. All we can really do is enjoy the ride; and it is a helluva ride.

She started out life as Butch Rosichan. A short, stocky man who made a living as an auto wrecker in Broward County (South Florida), he was a bulldog of a man who would get in your face at any perceived slight. He was not above getting into fistfights if he was provoked Homophobic and crude, he was something of a ladies’ man who had two sons from a failed marriage but that was nothing like his second marriage.

His divorce from that marriage turned into a bitter, knock-down drag-out thing. His ex and her pit bull of a lawyer hounded Butch into losing everything and then put him in jail for non-payment of alimony. When he finished serving his 120 days in the hoosegow, he found his business was finished and shortly thereafter another warrant for non-payment of alimony was issued. Not wanting to return to jail, he went into hiding instead – as a woman. Thus Gloria Stein was born.

As it turned out, she liked being a woman and decided that it wasn’t just a disguise. In 2003 she underwent surgery to change his gender. As Gloria, she met a man, Dan Friedman who as it turned out had been born a woman; Dan helped Gloria mellow out and smoothed out some of her rougher edges. She began reaching out to family members that she had alienated as Butch and began reconciling with them, although her two sons as of the filming of this documentary had yet to accept her or even return her calls. This is clearly very painful for her.

Butch became Gloria at the fairly advanced age of 67 (she’s pushing 80 now) and became the subject of a documentary by then-PBS documentary director Symon. The project, which was initially intended just to cover her transition from male to female became a decade-long endeavor.

Gloria is an engaging sort, an interesting subject matter who still refuses to take crap from anyone, although she’s less in-your-face about it these days. She’s an outspoken advocate for transgenders who does speaking engagements throughout the country. Along the way she has been a sex worker – a professional dominatrix – and oh yes, continues to have an interest in classic cars.

There are a lot of empty spaces in the film however and in many ways Gloria isn’t very forthcoming. When asked why she decided to undergo the sex change, she blurts out ‘I don’t know” and that feels a bit disingenuous. I suspect she knows but either can’t or won’t articulate it. Some of the more negative aspects of her life are glossed over somewhat; why she was unable to pay her alimony is never discussed although it is hinted at.

Apparently as Butch she was also involved in a stolen car ring but we don’t hear a lot about that other than a couple of moments discussing how she and her first wife used to take a cab to a restaurant then steal cars from the valet lot. Beyond that, we learn nothing about how she got involved with stealing cars and why. We’re also told that as Butch she was a homophobe but we get nothing else; I for one would love to have heard her feelings on her homophobia now that she has become a transgender. Considering that the documentary is only 76 minutes long, it seems incomprehensible that Symon had ten years to film and could only come up with 76 minutes of footage for her final product.

Symon utilizes home movie footage, re-enactments of certain events but primarily interviews with friends and family of Gloria, all of whom knew her as Butch. I’m wondering if the film couldn’t have used at least a couple of people who only knew Gloria and not Butch. The movie overall has a wry sense of humor about it that I liked very much.

It’s a fascinating documentary but maddeningly incomplete. I suppose it’s better to leave an audience wanting more than wanting less, but it’s still not a good feeling to leave a documentary wanting to know more about the subject and knowing that there was plenty of room to give us more. This feels more like a work in progress than a completed film, but at least it’s a quality work in progress.

REASONS TO GO: Stein is an engaging subject. The movie has a wry tone that is delightful.
REASONS TO STAY: The film could use much more fleshing out. Gloria needed to be a lot more forthcoming about her past.
FAMILY VALUES: There are adult themes, some profanity and brief sexual references.
TRIVIAL PURSUIT: Symon during her time at PBS won two Emmys.
CRITICAL MASS: As of 11/6/17: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Woman on Fire
FINAL RATING: 6/10
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