Tiger Within


The eye (and teeth) of the tiger.

(2020) Drama (Film ArtEdward Asner, Margot Josefsohn, Diego Josef, Taylor Nichols, Luke Eisner, Julie Dolan, Jade Weber, Joey Dedio, James C. Victor, Mikul Robins, Zachary Mooren, Frank Miranda, Csynbidium, Angelee Vera, Mark Dippolito, Sabastian Neudeck, Sam Thakur, Liam Fountain, Ryan Simantel, Jonathan Brooks, Linda Rich, Charee Devon, Erica Piccinnini. Directed by Rafal Zielinski

 

Once in awhile, you encounter a film that has its heart in the right place, but lacks the execution to pull off its intentions. That’s this Tiger to a “T”.

Casey (Josefsohn) is an angry 14-year-old girl from Ohio whose parents are divorced. She lives with her feckless mom (Piccinnini) in Ohio along with mom’s unsavory boyfriend (Brooks); she decides it’s time to head to L.A. to be with her Dad (Victor) except that he has a new family of his own and his shrewish wife wants no reminders of his old life anywhere near her daughters. Overhearing her stepmother’s tirade, she walks off and decides to make her own way in the City of Angels.

Easier said that done and she ends up sleeping in a cemetery, where she is discovered by Samuel (Asner), a Holocaust survivor leaving a stone on the memorial to his wife. Even though she has a swastika spray painted on her black leather jacket, he takes pity on her and buys her a meal, which leads to an offer for a place to stay. Casey has been brought up to believe that the Holocaust was a hoax and the swastika is largely for shock value, which in the early 80s (when this was apparently set – more on that later) might have worked but even at that point there were plenty of people utilizing Nazi symbology for shock value.

The two end up forging a bond that is surprisingly strong; she sees in him the parental guidance that she never had; he sees in her the child he never got to raise (his own offspring were killed in the camps during the war). Together, they turn out to be really good for each other.

The makings for a good movie are definitely here. Unfortunately, there are some script choices that tell me that writer Gina Wendkos doesn’t trust her own story; for example, she tacks on an unnecessary and pointless romance for Casey – after we’ve seen her employed as a sex worker (!) in Hollywood. There is also precious little character development and the story often relies on predictable tropes that give the viewers death by cliché.

Asner can be a force of nature as an actor, but he has mellowed somewhat since his Emmy-winning days as Lou Grant. It might well be age, but he is far more subtle here. While I thought his German-Yiddish accent a little over-the-top, he does his best to dispense wisdom to a young woman who isn’t always receptive to it. On the other hand, there’s Josefsohn who has the thankless task of playing a belligerent punk chick with a chip on her shoulder and making her relatable. That Josefsohn pulls it off is impressive; that she holds her own with Asner is not only a testament to her talent but also a tribute to Asner’s generosity as an actor.

The film seems to be set in the early 80s, but there are a lot of anachronisms (all the cars are modern and the Los Angeles location looks contemporary. Making a period piece is a lot more than hitting the thrift store; you need to see to all sorts of details, otherwise the viewer is pulled out of the illusion. The problem is that if the film were set even a few years ago, for Samuel to be married with children in the concentration camps would put him well over the century mark in years. Still, considering Asner’s actual age, they could have set the film just after the millennium turned and it likely would have been acceptable.

The movie’s themes of forgiveness, family and education are certainly laudable, but the movie is really about the relationship between Samuel and Casey; the extra stuff is just padding and just cluttered up the story. If only the filmmakers trusted the story and the characters to be compelling, they might have made a compelling film. Instead, we get a well-intentioned miss.

REASONS TO SEE: Josefsohn has some real potential.
REASONS TO AVOID: A few lapses in logic.
FAMILY VALUES: There is profanity, violence and some sexuality – involving teens.
TRIVIAL PURSUIT: Asner was 90 when the movie was filmed: Josefsohn was 14.
BEYOND THE THEATERS: Virtual Cinema
CRITICAL MASS: As of 1/5/21: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: The Reader
FINAL RATING: 5.5/10
NEXT:
Wonder Woman 1984

Elyse


In 2020, catatonia might be viewed as a blessing.

(2020) Drama (GravitasLisa Pepper, Anthony Hopkins, Aaron Tucker, Tara Arroyave, Fran Tucker, Julieta Ortiz, Griffin Thomas Hollander, Donat Balaj, Anthony Apel, Danny Jacobs, Everett Kelsey, Connor Garelick, Natalia Tucker, Susan Papa, Brittani Ebert, Riccardo Spinotti, David M. Jackson, Daisy Barber, Annette Dugan, Diana Arroyave. Directed by Stella Hopkins

 

Some movies are just slam dunks as far as critics are concerned. They are easy reviews to write; the words just flow. Some are much harder to articulate though.

This turgid melodrama stars Pepper as the titular character, a well-coiffed, well-dressed wife of a wealthy lawyer (A. Tucker), living in a gorgeous modern house where her adorable son (Hollander) is looked after by a solicitous nanny (Ortiz). But all is not perfect in paradise. Elyse suspects her husband – baselessly, it turns out – of having an affair with the nanny’s daughter Carmen (T. Arroyave) who works at her husband’s firm. She also has a very dysfunctional relationship with her patrician mother (F. Tucker).

At a dinner party, fueled by too much drink, she has a meltdown. Her husband, concerned over her increasingly volatile behavior, wants her to see a psychiatrist, a Dr. Lewis (A. Hopkins) who had some success with one of the other lawyers in his firm. Elyse agrees and actually develops a bond with him. However, not all is what it seems and to quote David Byrne, “You may ask yourself, is this my beautiful house?”

 

This is something of a family affair, with the director being married to one of the stars, and also related to two other actors by blood (her maiden name is Arroyave). There is also a mother/son team of actors playing mother-in-law/son-in-law here. That’s all very cozy, but it feels very much like this was cast largely from people the director knew and was comfortable with, rather than getting the best actors for the roles. It shows particularly in the lead roles where, with the exception of the one Oscar winner in the cast, the performances are uniformly stiff and uninspired.

But then again, the dialogue is truly dreadful. You can’t ask an actor to say a line like “This house is an empty shell…of vanished dreams” and expect him (Aaron Tucker, in this case) to make it sound like something a real human being would say. You know a film is going to be pretentious when the opening voice-over narration quotes The Wizard of Oz and you know that the film is about mental illness. I mean, Zoinks! Home viewers may end up banging on their TV in frustration as the first half of the film is in black and white with occasional splashes of color in a ham-fisted attempt at symbolism. Even when the main crux of the plot unfolds – it’s not a spoiler to say that Elyse is actually catatonic and in a mental hospital with Dr. Lewis trying to reach her and bring her back into consciousness – there is little to surprise the viewer and a whole lot to make them want to watch something else.

Still, Anthony Hopkins – who also produced the film and scored it – is a reliable factor and worth watching even in a bad movie, and trust me gang, the rating for this would be a hell of a lot lower if the Oscar-winning actor wasn’t present. Believe it or not, I take no joy out of trashing a film; I know that nobody goes into making a movie with the intent of making a bad one, but sometimes, despite the best intentions, that is exactly what is produced. However, Hopkins fans don’t have to feel bad about his lot – in a couple of weeks, his new film The Father will be coming out and that might well be one of the best films of a year that most of us will want to forget anyway.

REASONS TO SEE: Anthony Hopkins is always a treat.
REASONS TO AVOID: The dialogue is simply awful.
FAMILY VALUES: There is profanity and some sexuality.
TRIVIAL PURSUIT: Director Stella Hopkins has been married to star Anthony Hopkins since 2003.
BEYOND THE THEATERS: Amazon, AppleTV, DirecTV, Fandango Now, Google Play, Microsoft, Redbox, Vudu, YouTube
CRITICAL MASS: As of 12/10/20: Rotten Tomatoes: 40% positive reviews; Metacritic: No score yet.
COMPARISON SHOPPING: A Woman Under the Influence
FINAL RATING: 4.5/10
NEXT:
Farewell Amor

Blackbird (2019)


Taking comfort at twilight.

(2019) Drama (Screen MediaKate Winslet, Susan Sarandon, Mia Wasikowska, Sam Neill, Rainn Wilson, Lindsay Duncan, Bex Taylor-Klaus, Anson Boon. Directed by Roger Mitchell

 

Most of us fear dying. We are dragged towards it, kicking and screaming, not wanting to go gentle into that dark night. Some of us, conversely, embrace it, death being a comforting alternative to a life of pain and humiliation.
That’s what Lily (Sarandon) is faced with, entering the final stages of ALS, popularly known as “Lou Gehrig’s Disease.” She is already having difficulty doing ordinary things, having lost the use of one arm and nearly unable to walk. She is looking at a future of breathing on a ventilator, being fed intravenously and unable to speak. This is not a future she wishes to endure. She wants to exert the last little bit of control she has over life – she wants to end it while she is still able.

This is a decision that she has debated with her family – her husband Paul (Neill), a doctor who has managed to purchase the fatal cocktail that will send her into sleep one last time; her eldest daughter Jennifer (Winslet) who inherited her mother’s control-freak nature without inheriting her warmth; younger daughter Anna (Wasikowska), the family black sheep, whose on-again off-again paramour Chris (Taylor-Klaus) is apparently on-again with her and has accompanied her to Lily and Paul’s extravagant beach house in the Hamptons. So, too has Jennifer’s husband Michael (Wilson), a reciter of minutiae so irritating that Anna has dubbed him “Mr. Dull,” and their son Jonathan (Boon), who has clearly spent a lifetime not living up to his mother’s expectations. Then there’s also Liz (Duncan), Lily’s long-time best friend (dating back at least until college) whose presence Jennifer deeply resents.

Lily clearly expects a sweet send-off, in the bosom of a loving family ready to send her off with love and joy, but she apparently hasn’t met her own children. Anna is so self-absorbed that she threatens to put a stop to Lily’s plans in order to get to know her mother better before she goes; Jennifer can’t help but criticize every little detail in everyone else and she and Anna are at each other’s throats. Paul takes the high road, but he simply wants peace and knows he’s not going to get it, particularly when a late revelation calls into question everything.

The film has an understandably elegiac tone, borrowed from the Danish film it is remade from (Silent Heart) whose screenwriter Christian Torpe also penned the English-language version. Even the warm tones of Mike Eley’s cinematography doesn’t disguise that we are observing a life in winter, awaiting its end. Then again, this isn’t a movie about death so much as it is about the dynamics of family. This is a family that has had a comfortable life, but has profited little by it.

The attraction here is the cast, and they don’t disappoint. Sarandon has played the dying mom before (Stepmom) and experienced pro that she is, refuses to turn her illness into Camille-like histrionics. She is making her best effort to die with dignity, but she is flinty enough to call her family down to breakfast by grumping “Get down here – I’m going to die today!” Winslet plays a character that is recognizably Lily’s daughter – strong, strong-willed, and yes, a control freak, but she chooses to exercise it by tearing down.

Neill has been one of my favorite actors over the years and his quiet dignity makes his part all the more poignant. Wasikowska, Duncan and Taylor-Klaus manage to hold their own against the Oscar-winning leads and Wilson does a surprisingly good job in a rare straight dramatic role for him. Boon, a relative newcomer, also is impressive in his scenes as the straight-shooting grandson.

This is hard to watch at times in the sense of dealing with a loved one. I found myself wondering if I would be as sanguine if it was my mother who was purporting to end her own life with dignity. I’d like to think I’d support her decision if she felt it was the right thing, but I can’t help wondering if I would handle the situation gracefully. Chances are, not.

This is a movie that inspires reflection, and that is definitely not a bad thing. That said, it isn’t always an easy watch and requires much of its viewer. Also, not a bad thing, but it can be more than the average viewer might be willing to give. Still in all, it is worth the effort to watch if for no other reason for the stellar performances of its cast.

REASONS TO SEE: Some wonderful performances from Sarandon, Winslet and Neill. Lovely cinematography. The family dynamic is the focus of the film.
REASONS TO AVOID: Kind of a downer.
FAMILY VALUES: There is profanity, some brief sexual material, drug use and adult themes.
TRIVIAL PURSUIT: The producers initially wanted Diane Keaton in the role for Lily, but eventually Sarandon was cast.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Microsoft, Redbox, Vudu
CRITICAL MASS: As of 9/18/20: Rotten Tomatoes: 67% positive reviews. Metacritic: 54/100.
COMPARISON SHOPPING: Here Awhile
FINAL RATING: 8/10
NEXT:
A Life of Endless Summers: The Bruce Brown Story

Star Light


Scout Taylor-Compton looks for guidance.

(2020) Horror (1091Scout Taylor-Compton, Cameron Johnson, Robert Adams, Liana Ramirez, Garrett Westton, Chandler Rachelle, Hagen Mills, Tiffany Shepis, Kevin Jiggetts, Bret Roberts, Geoff Callan, Darryl Phillipy, James M. Jennings, Gregory Dean French, Victoria Graham. Directed by Mitchell Altieri and Lee Cummings

Horror movies are undergoing a kind of renaissance of late; there have been some real game-changers out there. One of the benefits of this kind of quality is that it tends to inspire other filmmakers to do better, taking sometimes cliché ideas and characters and elevating one, the other or both. The average horror buff only benefits from this kind of thing.

Dylan (Johnson) is a fairly typical high school kid; he’s not sure where his future is leading him and his main interests are in playing video games, listening to music – particularly that of his pop crush Bebe A. Love (Taylor-Compton) – and hanging out with friends, much to the disgust of his single mom (Shepis) and her judgmental pastor boyfriend (Jiggetts).

On the way home one night, he literally runs into a terrified girl who has been injured in a car accident. Unsure of what to do, he takes her over to his friend Nick’s (Adams) house, where a few stragglers are left after one of those graduation bashes that occur when the parents have left the area. Dylan’s BFF Casey (Ramirez), hot-headed Monty (Mills), jock Tex (Westton) and slutty Sara (Rachelle) all remain as it soon becomes apparent that the injured girl is Bebe.

But then her handler/driver/manager Anton (Roberts) shows up, demanding that the teens turn over the pop star to him. And he is creepy enough that Dylan says “not a chance in Hell,” not realizing that Hell is a lot closer than he thinks. Anton lays siege to the remote party house. Can Dylan really impress Bebe enough to get a relationship going? Who will survive the night? And what is the thing in Anton’s trunk?

This is a movie that is occasionally frustrating – it establishes some plot threads that seem interesting, but then does nothing with them, for example, but Altieri and Cummings did assemble a pretty fine cast of veterans like Taylor-Compton and Shepis, and some really strong up-and-coming talent, like Johnson and Adams.

The movie starts off with plenty of teen angst as we get the sense that things between Dylan and his mom aren’t too cool, but the movie morphs into an occasionally dazzling horror fest. Roberts makes an extremely creepy villain, and while the twists aren’t exactly world-shattering, the plot keeps humming along and a pretty frenetic pace and the strong performances enable you to care about characters that are essentially teen slasher stock characters – although you won’t believe for a moment that these are high school kids, which is a sin a lot of teen-centric horror movies commit.

By no means is Star Light a game-changing horror movie, but it is solid and entertaining with enough to recommend it to fans and curious souls alike. Yes, there are movies out there that are far more innovative and maybe even more over-the-top but the filmmakers stick to what works and if they don’t take chances, they at least get the execution down properly. Not all horror movies can say that.

REASONS TO SEE: Strong performances, reasonably scary and utilizes teen angst and slasher film tropes with equal gusto.
REASONS TO AVOID: Most of the characters are kind of stock.
FAMILY VALUES: There is profanity, teen sex and teen drinking, as well as some violence, terror and gore.
TRIVIAL PURSUIT: Altieri and Cummings are two-thirds of the Butcher Brothers, horror specialist directors (The Hamiltons).
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 8/31/20: Rotten Tomatoes: 67% positive reviews. Metacritic: No score yet.
COMPARISON SHOPPING: The Evil Dead
FINAL RATING: 6.5/10
NEXT:
Attack of the Unknown

5 Years Apart


In golf, four’s a game; five’s a crowd.

(2019) Comedy (GravitasChloe Bennet, Scott Michael Foster, Ally Maki, Michael Vlamis, Craig Low, Michelle Randolph, Malcolm Hatchett, Chandler Bailey, Samuel Elhindi, Kyle Anderson, Spencer Waldner, John Cahill, Becky Robinson, Christian Pierce, John McKay, Isiah Miller, Judah Miller, Arsenio Castellanos. Directed by Joe Angelo Menconi

 

If you are looking for the most vindictive, vitriolic and vicious blood feuds there are, look no further than the wars between siblings. It’s difficult to hide who you are from someone you grew up with. You know all the dirty secrets, the moments of shame, and the flaws and defects. There also tends to be rivalries, particularly between siblings of the same sex. Family breeds familiarity, after all, and familiarity breeds contempt.

Andrew (Foster) is about to turn 30. He is a successful businessman, the sort of meticulous man who has every moment of every day planned down to the minute. His wife Olivia (Maki) is much the same way. She and Andrew are thinking of starting a family, but it would entail Andrew taking a second job to offset the loss of income from Olivia and she’s not willing to see him overwork himself. They decide to take a birthday weekend at the house of Andrew’s parents in Arizona while the parents are on holiday in Italy.

His younger brother Sammy (Vlamis) is about to turn 25 – in fact, on the same day as Andrew as the two brothers were born five years apart on the same day. He works as a salesman for a bounce house rental company. He and Andrew haven’t spoken in five years after an incident at a Christmas family gathering led to a physical confrontation between the two. Sammy didn’t even show up at Andrew’s wedding and has never met Olivia. As meticulous as Andrew is, so Sammy is carefree and fly-by-the-seat-of-his-pants. He had gone to Arizona State but had dropped out – just one of many instances of Sammy not finishing what he started.

Sammy decides to spend the weekend of his birthday at his parent’s house since they are in Italy. On his way there he meets Emma (Bennet) at a bar. The two hit it off and eventually win up doing the horizontal rumba on the living room couch. This brings out Andrew and Olivia who were doing their own wild thing in the bedroom. It also turns out that Emma had been coming out to visit with Olivia – her half-sister, ain’t coincidence a wonderful thing if you’re a screenwriter – so that she could be set up with Mark (Low), an outgoing Aussie who Andrew has a high opinion of. Unfortunately, as it soon turns out, Emma doesn’t.

The two brothers aren’t willing to budge so reluctantly they spend the weekend together in the same house. Sammy goes out of his way to irritate his staid older brother, while it turns out there is some tension between Olivia and Emma as well. Can the two sets of siblings figure out a way to get past their hurt feelings and pride and find a way to forge an actual relationship?

The plot has a sitcom-y element to it which isn’t necessarily a bad thing. There are some contrivances, sure, but not in a too-in-your-face way that sitcoms sometimes get. Dysfunctional family relationships are not, as we all know, unheard of and in an era where we are being forced to spend more time with our families than perhaps we would normally thanks to quarantine, it’s easy to relate to how horrible they can get.

The cast is young and attractive and they do a pretty decent job here. Some of you may recognize Bennet from the Marvel’s Agents of S.H.I.E.L.D. television show and she is absolutely a lark here; the role plays very well to her strengths as an actress. Although her role on her TV show is more of an action heroine, she has some good comic timing and a flair for light comedy that should serve her well in her future career. She was my favorite part of 5 Years Apart.

For those who are cooped up with family, watching the brothers behave childishly towards each other may not be exactly what the doctor ordered; many of us are getting a heavy dose of that sort of thing in real life to want to watch much more than a smattering of it when we sit down to be entertained – in that sense, the film can be irritating. It is also, worse still, predictable, particularly in the last third.

This is a little bit better than I expected it to be in some ways; also, a little bit worse than I expected it to be in others. The performances are good, the characters are compelling and the chemistry is there. Unfortunately, there is also an abundance of sitcom tropes and a dearth of funny jokes. The comedy is mainly situational and I would have preferred if the filmmakers had gotten away from that a little bit. It gets a mild thumbs up at best, but if you’re looking for a diversion right now (and who isn’t) you could do worse.

REASONS TO SEE: A role tailor-made for Chloe Bennet’s talents.
REASONS TO AVOID: Predictable and occasionally irritating.
FAMILY VALUES: There is profanity, sex, brief nudity and drug use.
TRIVIAL PURSUIT: Bennet and Maki are close friends in real life and have been for years, but this is the first time they’ve acted alongside each other.
BEYOND THE THEATERS: AppleTV, Microsoft, Redbox
CRITICAL MASS: As of 8/26/20: Rotten Tomatoes: No score yet, Metacritic: No score yet
COMPARISON SHOPPING: Rachel Getting Married
FINAL RATING: 5.5/10
NEXT:
At the Video Store

House of Hummingbird (Beol-sae)


A conversation on the landing.

(2018) Drama (Well Go USAJi-Hu Park, Sae-byeok Kim, Seung-Yun Lee, In-gi Jeong, Sang-yeon,  Son, Su-Yeon Bak, Sae-yun Park, Yun-seo Jeong, Hye-in Seol. Directed by Bora Kim

 

The most recent Best Picture winner at the Academy Awards was a Korean film, which gives you an idea just how vital and thriving the film scene is there. Korean directors are unafraid to take chances with oddball humor, or unspectacular thematic material handled in a quiet, reverent manner.

Eun-hee (J-H Park) is 14 years old in 1994, and lives in Seoul with her baker father (I-g Jeong) and her distracted, depressed mother (Lee). Eun-hee has not been doing particularly well at school, being forced to go to “cram school” to get her language grades up. With her best friend Ji-Suk (S-y Park), she goes out to juvenile karaoke clubs, experiments with kissing and occasionally shoplifts. In the meantime, the World Cup dominates her father’s attention as does the bakery which is dangling on the precipice of failure. A North Korean dictator dies, leaving the people of Seoul to wonder if war is coming.

Her cram school tutor Young-jii (Kim) is the only adult that gets the desperately lonely Eun-hee. Betrayed by her friends, marginalized by her parents, ridiculed by her schoolmates and beaten by her older brother (Son) who is under tremendous pressure to pass his exams and get into college which would all but assure him of a decent job.

Eun-hee is used to not being taken seriously, but she has aspirations of being a cartoonist and she might not necessarily be as dumb as she’s made out to be. However, the challenges in her life grow exponentially as a mysterious growth behind her ear might be serious, requiring an operation that could leave her face partially paralyzed. On top of that, her relationship with Young-ii is growing more complicated and a family tragedy rocks her world. It’s nothing, however, to the tragedy that is fast approaching.

Although Bora Kim has been making short films for more than a decade, this is her first feature-length film and it has the taste of autobiography to it. The film has had an acclaimed Festival run, winning awards at both Tribeca and the Berlinale. The film deserves the accolades; this is a smart, affecting film that looks critically at Korea’s patriarchal culture and through Eun-hee tries to find a young girl’s place within it.

There is a realism here that is refreshing; the sexual exploration of Eun-hee isn’t particularly sweet but fumbling and awkward. She is a definite scholastic underachiever (to which I could relate) while at the same time having a definite goal in mind. Seoul, which at the time was undergoing a building spree and had become a world economic center is definitely a character in the film; clearly the director feels affection for it especially in the way her cinematographer Kook-hyun Kang shoots the urban scenes through almost a nostalgic haze.

Kim takes her time telling the story and isn’t afraid to meander a little bit, but that is anathema to American audiences who prefer their storytelling taut and efficient. Kim prefers to allow the story to unfold at its own pace although there are times that I did wish she’d get on with it. Americans, right? In any case, this is an impressive feature debut for a talent who seems destined to be one of the very best in a film scene that is crowded with talented young directors.

The film is currently available via virtual cinematic experience which benefits local art house cinemas and is being handled by the good folks at Kino-Lorber. Click on the link below to find the nearest theater benefiting from its run; for Floridians, theaters currently promoting the film include the Movies of Lake Worth and the Movies of Delray in Miami, the Corazon Cafe and Cinema in St. Augustine and the Tampa Theater here in Central Florida.

REASONS TO SEE: Ji-Hu Park is an engaging lead. A slice of life in the Korean working class.
REASONS TO AVOID: Attention-span challenged American audiences may find it long.
FAMILY VALUES:  There is some profanity, sexual situations and domestic violence.
TRIVIAL PURSUIT: A line about wanting to be a cartoonist in the letter from Eun-hee to her teacher Young-jii was taken directly from director Bora Kim’s adolescent diary.
BEYOND THE THEATER: Virtual Cinematic Experience
CRITICAL MASS: As of 6/126/20: Rotten Tomatoes: 100% positive reviews; Metacritic: 79/100.
COMPARISON SHOPPING: Seoul Searching
FINAL RATING: 7.5/10
NEXT:
Cold Pursuit

Babyteeth


Poolside contemplation.

(2019) Drama (IFCEliza Scanlen, Toby Wallace, Ben Mendelsohn, Essie Davis, Michelle Lotters, Sora Wakaki, Renee Billing, Zack Grech, Georgina Symes, Emily Barclay, Eugene Gilfedder, Edward Lau, Charles Grounds, Jack Yabsley, Andrea Demetriades, Ashley Hanak, Quentin Yung, Jaga Yap, Priscilla Doueihy, Shannon Dooley. Directed by Shannon Murphy

The world is full of dying teens, or so the movies would tell us. Invariably, the teens so afflicted are spunky, quirky and more lively than kids destined to live long lives. Rarely do we ever see seriously ill kids who actually act seriously ill, with only an occasional nosebleed or a bloody cough. I wonder what it says about humans in general that we are so eager to kill off our young, figuratively speaking.

In this much-lauded Aussie drama, Milla (Scanlen) seems a normal teen with normal teen angst and normal teen attitude – i.e. her parents don’t understand, all adults are morons and NOBODY GETS ME. Her parents, in her case, are seriously effed up – Dad Henry (Mendelsohn) is a therapist whose response is generally to write a prescription for one drug or another. Some of those drugs go to his wife and Milla’s mom Anna (Davis) who is generally stoned out of her mind on Xanax or Zoloft or some such.

Into Milla’s life comes Moses (Wallace) like a bull in a china shop, quite literally – he slams into her on a train platform, because he wants to feel the train. Within moments of that meeting, he’s hitting her up for cash. He’s homeless, a drug addict and a small-time drug dealer – just the kind of boyfriend any girl would love to bring home to Daddy – and of course, that’s exactly what Milla does.

Milla’s folks are appalled by Moses but even though he robs them, there’s still something charming about him and Milla really likes him. When Milla shows up bald shortly thereafter, we realize that her illness is Serious and Anna’s constant self-medication is because she is having trouble reconciling the prospect that her daughter might not be around much longer, but Moses seems to make her happy and so she and Henry allow Moses to stick around, because just maybe he’s the real tonic that Milla actually needs.

Veteran Aussie TV director Murphy, making her feature film debut, has made a film with graceful texture. To her credit, she rarely allows the film to degenerate into maudlin self-pity, which is an issue with other films of this sort. If it feels a bit padded out, that might be forgiven if what’s onscreen holds our interest. For the most part, it does largely due to an absolutely star-making performance by Scanlen who has shown that she has the chops to be an A-list actress. Her chemistry with Wallace is undeniable.

On the negative side, Murphy chooses to end each chapter abruptly rather than seamlessly transitioning. She just stops the scene, often like shutting a door and moving on to the next room. It’s jarring and would have worked better if she hadn’t used it quite so often. d

There is a lot of meat on the bones here, certainly enough to give the average film buff hours of discussion afterwards if so they choose. For me though, it didn’t quite connect; maybe I’ve seen too many dying teen movies and perhaps it didn’t resonate as much in the middle of a global pandemic. The movie probably deserved a higher grade than I’m giving it, but I can’t bring myself to do it; that wouldn’t be fair to my readers. I will say that some of you will likely really connect with this movie, but for one reason or another, I just didn’t. Make of that what you will.

REASONS TO SEE: Scanlen is mesmerizing.
REASONS TO AVOID: Too long and too disjointed.
FAMILY VALUES: There is plenty of profanity, some sexual content and drug use.
TRIVIAL PURSUIT: Scanlen previously played sickly teen Beth March in Greta Gerwig’s Little Women.
BEYOND THE THEATERS: Amazon. AppleTV, Google Play, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 6/24/20: Rotten Tomatoes: 94% positive reviews, Metacritic: 76/100
COMPARISON SHOPPING: The Fault in Our Stars
FINAL RATING: 6,5/10
NEXT:
The Ghost of Peter Sellers

The Mule (2018)


The look you get when everything you’ve spent a lifetime building falls apart.

 (2018) Drama (Warner BrothersClint Eastwood, Bradley Cooper, Laurence Fishburne, Michael Peña, Dianne Wiest, Alison Eastwood, Taissa Farmiga, Andy Garcia, Ignacio Serricchio, Loren Dean, Diego Cataño, Daniel Moncada, Victor Rasuk, Ashani Roberts, Lobo Sebstian, Devon Ogden, Cesar De Léon, Richard Herd, Clifton Collins Jr., Jackie Prucha. Directed by Clint Eastwood

 

Clint Eastwood is something of a folk hero, and has made a career playing other folk heroes. His latest is Earl Stone, a man driven to the wall when his business fails and he falls into a job delivering coke for the cartel. It’s the perfect front; on the surface, he appears to be a harmless geriatric and that’s pretty much what he is. But it’s a dangerous game he’s playing, with a magnanimous cartel boss (Garcia) overseeing suspicious and ambitious underlings (Serricchio) and a driven DEA agent (Cooper) all on the hunt after Earl.

Eastwood was pushing 90 when he made this film (he’ll become a nonagenarian on May 31st of this year) but still retains the gruff charm that has carried him through the late stages of his career. While his character is not so admirable – he essentially has alienated his entire family, choosing work over ,loved ones at every turn, is a serial womanizer and a not-so-subtle racist – but Eastwood has always made guys like these seem not-quite-so-bad. He’s also still a skilled director who builds up a strong tension throughout the film; will he get caught? Will that police dog find the drugs? Stay tuned.

Currently on iMDB Eastwood has no projects lined up either as a director as an actor; this is very likely his swan song in front of the camera (although we have learned to never say never in that regards – 2008’s Gran Torino was supposed to be his last acting role but he has appeared in several films since then) as last year’s Richard Jewell is likely his final film as a director. While this film isn’t a disgrace to his legacy, neither does it enhance it much. It’s reasonably entertaining, elevated by the presence of one of the last authentic stars of Hollywood.

REASONS TO SEE: Eastwood is always watchable. A “so bizarre it has to be true” story.
REASONS TO AVOID: Some of the racist remarks Earl says made me a little uncomfortable.
FAMILY VALUES: There is plenty of profanity and some sexuality.
TRIVIAL PURSUIT: The Earl Stone character is based on Leo “Tata” Sharp who was also a horticulturist who became a drug mule for the Sinaloa cartel from 2001-2011.
BEYOND THE THEATER: Amazon, AMC On Demand, AppleTV, Fandango Now, Google Play, Microsoft, Movies Anywhere, Redbox, Vudu, YouTube
CRITICAL MASS: As of 5/14//20: Rotten Tomatoes: 70% positive reviews. Metacritic:  58/100
COMPARISON SHOPPING: The Old Man & the Gun
FINAL RATING: 7/10
NEXT:
Bombshells and Dollies

The Wretched


When a troubled teen comes to call, don’t always answer the door.

(2019) Horror (IFC Midnight)  John-Paul Howard, Piper Curda, Jamison Jones, Azie Tesfai, Zarah Mahler, Kevin Bigley, Gabriela Quezada Bloomgarden, Richard Ellis, Blane Cockarell, Judah Abner Paul, Ja’layah Washington, Amy Waller, Ross Kidder, Kasey Bell, Harry Burkey, Trudie Underhiill, Sydne Mikelle, Tug Coker, Madelynn Stunekel.  Directed by Brett Pierce and Drew T. Pierce

 

In this pandemic, we’ve focused on the most vulnerable members of our society – the elderly. However, we sometimes forget the other vulnerable side of society – the children. The Pierce brothers, who have assembled this slick horror yarn together, certainly haven’t.

In the 1980s, a hapless babysitter stumbles on the mother of her charge chowing down on her own kid. Faster than you ca say Dario Argento she ends up locked in the cellar with a hungry mama. Flash forward to now which is when sullen rebellious teen Ben (Howard) is forced to spend the summer with his Dad working the lakeside marina in Michigan with his Dad (Jones) after an incident left him with a broken arm and an exasperated mom.

The only consolation is the perky Mallory (Curda) who works at the marina with him, so Ben battens down the hatches for a rough summer squall, made even rougher when he gets the depressing news that his dad has a new girlfriend (Tesfai). However, that soon takes a back seat to the family next door, whose tattooed mom Sara (Mahler) has taken to scaring her young son (Cockarell) and butchering a deer she accidentally hits with her car on the way home from a walk in the woods. Unbeknownst to her, there was something hiding in the deer carcass, something that has designs on her but more to the point, to feed on her son.

Nobody believes Ben that there is something very sinister going on so in the finest plucky teen fashion he goes about trying to save the town from itself but it isn’t easy because nobody can remember the family next door having a child. That turns out to be really inconvenient – and puts the crosshairs right on Ben.

It’s no accident that the film’s prelude took place in the 80s, because the movie is rooted in the cinema of that era. There are elements of Steven Spielberg fantasy, with the broken family and the plucky kids; it’s an oeuvre that has become massively popular as of late thanks to the Netflix series Stranger Things but other than the intro, this film is also rooted firmly in modern horror.

To the credit of the Pierce Brothers and their cinematographer Conor Murphy, the movie looks like something that a major studio might have put out. Every technical aspect of the film works to perfection, from the mainly practical effects to the score to the sound to the set design. There are some really nice scares to be had here, although there’s a feeling that the Pierce Brothers realized that their budget was such that they couldn’t afford a really decent build-up so they skipped right to the climactic battle. For that reason, the pacing feels a bit off and the ending disappointing.

Still, this is an engaging and – dare I say it – fun summer-style horror film that makes for essential quarantine viewing, particularly for those who love the influences I mentioned. If anyone who loves the horror genre is looking for the next James Wan, we may have found them for you.

REASONS TO SEE: The horror sequences are well-done.
REASONS TO AVOID: The ending feels a bit rushed.
FAMILY VALUES: There is violence, profanity, sexual situations, child peril and disturbing images.
TRIVIAL PURSUIT: The film was shot in Northport, Michigan.
BEYOND THE THEATER: Amazon, Vudu
CRITICAL MASS: As of 5/1/20: Rotten Tomatoes: 79% positive reviews: Metacritic: 61/100.
COMPARISON SHOPPING: Fright Night
FINAL RATING: 6.5/10
NEXT:
Aquaman

Ray & Liz


Liz is not someone that you want to cross.

(2018) Drama (Kimstim/1091) Ella Smith, Justin Salinger, Patrick Romer, Tony Way, Joshua Millard-Lloyd, Sam Gittins, Richard Ashton, James Eeles, James Hinton, Andrew Jefferson-Tierney, Deirdre Kelly, Michelle Bonnard, Jamie-Lee Beacher. Directed by Richard Billingham

 

It is very hard to look at our parents with any sort of objectivity. Often, we see them through rose-colored glasses as superhuman beings who can do no wrong, but more often we see them as absolute screw-ups who can do nothing right. We rarely see them as human beings.

Richard Billingham, an art photographer turned film director, has made his career by turning his lens on his family life. This movie is largely autobiographical, looking at his parents Liz (Smith) and Ray (Salinger), who live in Birmingham’s Black Country in Thatcher’s England. Ray is on the dole, having lost his job. The family gains additional income from taking in a lodger, Will (Gittins) in their dump of a home. Liz, deciding that young Rich needs shoes, troops off with him and Ray in tow to the shops, leaving the younger brother Jason in the care of Lol (Way), Ray’s brother who is developmentally challenged.

Liz – who apparently has had issues with Lol in the past – leaves with a stern warning not to get into the booze but when Will arrives home, he sees a golden opportunity and finds the liquor, bringing up a crate full from the cellar. He manages to get Lol drop dead drunk, then paints Jason’s face with boot polish and sticks a carving knife in his hand, then quickly leaves, returning to see the follow up which is a terrifying beating from Liz.

The neglect – leaving one’s child with a mentally challenged individual – proves to be a pattern as we follow the family as the boys age into their teenage years. The family now lives in “council housing” i.e. government subsidized apartments for us Yanks. Studious Richard has a chance to get out but young Jason (Millard-Lloyd) is getting involved with delinquent behavior. Ray has become a raging alcoholic, and Liz self-medicates, smoking like a chimney and doing jigsaw puzzles. After a terrifying night when Jason ends up spending a frigid night in a neighbor’s shed, the authorities are forced to step in.

The whole movie is framed with scenes of Ray in his later years (Romer), living in the bedroom of his council flat, the room infested with flies as Ray’s mate Sid (Ashton) delivering bottles of some sort of carbonated home brew. Ray continues to be deep in the clutches of alcoholism, but now he is utterly alone. He is separated from Liz, who comes around once in awhile to cadge money from him, but there is no love between them that’s apparent. The family has completely disintegrated.

There’s no way around it; this is a bleak film filled with unlovable characters trying to make do in an intolerable economic situation. Liz and Ray seem genial on the surface, but both are completely self-absorbed, caring only about having enough cigarettes, booze and whatever distractions they are into at the moment. Their kids barely get a second thought.

Billingham gives us endless close-ups of the flies in Ray’s room, of Ray’s aged and booze-ravaged face. He seems to take delight in showing Ray’s awful situation; one wonders if he is getting back at his parents for the neglect he clearly feels. I don’t doubt that Liz and Ray were far from ideal parents, but they don’t get a voice in this thing; it seems clear that they are both suffering from depression but that’s not the kind of thing that was diagnosed commonly 30 years ago, and it doesn’t feel like Billingham would have forgiven them for it in any case

Smith gives an unforgettable performance as Liz; she stands out in the cast. Salinger is kind of lost as the less assertive Ray, although the actor has had some impressive performances in his resume. Billingham, with a photographer’s eye, composes his shots artistically and the movie, as bleak as it is and as squalid as the settings often are, is a pleasure to watch from a purely technical point of view. Still, there is so much lingering on the flies and on the anger that one wonders if Billingham wouldn’t have benefited more from a therapist than from a feature film.

REASONS TO SEE: Ella Smith is an absolute force of nature.
REASONS TO AVOID: Too many extraneous shots of flies.
FAMILY VALUES: There is a goodly amount of profanity, some violence, plenty of smoking and drinking.
TRIVIAL PURSUIT: Billingham is a photographer making his feature film directorial debut. His photographic essay Ray’s a Laugh is the basis for this film.
BEYOND THE THEATERS: Kanopy
CRITICAL MASS: As of 4/13/20: Rotten Tomatoes: 96% positive reviews, Metacritic: 81/100
COMPARISON SHOPPING: Sorry We Missed You
FINAL RATING: 6.5/10
NEXT:
The Possession of Hannah Grace