Tallulah


A short walk on a long pier.

A short walk on a long pier.

(2016) Drama (Netflix) Ellen Page, Allison Janney, Tammy Blanchard, Evan Jonigkeit, Felix Solis, Uzo Aduba, Fredric Lehne, Liliana/Evangeline Ellis, John Benjamin Hickey, Zachary Quinto, Maddie Corman, Tommar Wilson, J. Oscar Simmons, Charlotte Ubben, Olivia Levine, Jason Tottenham, Todd Alan Crain, Chanel Jenkins, Stacey Thunder, Jasson Finney. Directed by Sian Heder

 

Motherhood is one of the most primal of all human urges. There is no doubt that it changes a woman, not just in a physical sense (which it does) but also in her perspective, in how she sees the world. Some say that every woman becomes a great mother, but that simply isn’t so. Some women were flat-out not made to be mothers.

Lu (Page) has been living on her own, homeless and content to be. She doesn’t want to be tied down to anything or anyone – although she seems pretty smitten with her boyfriend Nico (Jonigkeit). However, he isn’t terribly smitten with the lifestyle of stealing and conning to survive and eventually takes a powder. Knowing that he is headed to New York City to find his estranged mom, she follows him there. Since she’s in a van and he’s on foot, she gets there first.

Margo (Janney) is Nico’s mom and she’s bitter ever since her husband Stephen (Hickey) deserted her – for another man, in this case Andreas (Quinto). Because Margo is living in faculty housing and it’s Stephen who is actually the faculty, she has to pretend like he’s still there, a fiction that has kept her in a place to live even though she hates the artwork on the walls and feels trapped in a place that she doesn’t particularly like.

When Lu turns up at her door, she’s at first dismissive but at she realizes that Lu is the only connection she has to her son so when Margo sees the doorman Manuel (Solis) she instructs him to send the waif back up the next time she drops by. And she drop by she does, only this time in the company of a baby (Ellis).

You see, while Lu was at a posh hotel taking leftover food from room service trays, she was spotted by Carolyn (Blanchard), a Real Housewives type. Mistaking Lu for hotel staff, she has her babysit her baby while she goes out and parties with a man who she is most definitely not married to. When she comes back to the hotel room and passes out dead drunk, Lu realizes Carolyn is not a fit mother. Rather than contact the authorities, she impulsively takes the baby herself for her own.

On the Margo front, Lu passes off the baby as Margo’s granddaughter and suddenly the two women are bonding, not just over the shared genetic material but also over motherhood itself. Margo realizes she wasn’t mother of the year – neither was Lu’s mom, who essentially abandoned her – but she has a chance to redeem herself for the mistakes she made with her son. The police however are closing in and Lu doesn’t sense the tightening net around her.

Heder, one of the writers of Netflix’ hit Orange is the New Black series, has a keen eye for women’s issues and what could be a more important one than motherhood? Well, at least that’s the way society makes it out to be. A woman is more than her ovaries and this is a movie that makes a case that being a great mom is not all there is to life.

In fact, the three main female characters are none of them great moms. The closest one to it is Lu, who stole her baby which is certainly one of the most unforgivable crimes in our culture. That she took it from a woman patently unfit to be a mother, who didn’t want to be a mother, who endangered her child’s welfare and seemingly her life was not necessarily the issue, or at least I didn’t think so.

Margo had devoted her life to Nico, particularly after she and Stephen broken up but her bitterness and betrayal colored that relationship as well. It wasn’t until after she met Lu that she was able to let go and be free of her self-imposed burdens, which is a theme in the movie symbolized by both of the two main female characters imagining they are floating away from earth, no longer tethered by gravity. With Lu it’s a dream at the beginning of the film; with Margo a daydream at the end.

I’ve never been an over-the-top Ellen Page fan, although I recognize that she is an extremely talented actress and I can relate to her on that point. However, the characters she chooses to play are often a bit too strident for my liking and often a bit too offbeat from time to time. Lu lives by her own rules; in some ways, she is as self-centered a character as Page has ever portrayed. There are those who will characterize this as kind of the logical continuation of Juno, the title character that launched her career, a pregnant teen. I don’t really see it that way though; Lu is nothing like Juno.

One of the objections I had to the script was that Lu has been set up to be something of an individualist. She wants relationships to be on her terms, in fact life itself is lived on her own terms. Her action of impulsively stealing the baby just seems to be so out of left field in that sense; someone who is as irresponsible as Lu is suddenly decides to take on the biggest responsibility of them all? It didn’t make sense when I saw it and I imagine that it could be written off as the impetuousness of youth – but that’s some bad writing.

While I enjoyed the performance of Allison Janney immensely, at the end of the day this seems to be a missed opportunity more than anything. We rarely get to see mothers portrayed as anything but saints and sacrificers and that is largely true of most moms, but we don’t always get to see the other side of it – the loss of identity, the absolute panic of not knowing what to do when your baby won’t stop crying, the exhaustion and the mistakes. Any mom will tell you that she made her share of foul-ups and sometimes things that she’s done that she wishes she hadn’t. I don’t think Heder was really certain as to whether she was writing a treatise on motherhood or finding freedom as a woman, and in a sense she tried to do both and ended up doing neither. I didn’t see anything here that really gave me any insight into the characters that I couldn’t have figured out by watching the Lifetime network for an hour or two.

REASONS TO GO: Janney is as solid as she always is.
REASONS TO STAY: Some of the plot points don’t seem too organic.
FAMILY VALUES:  Profanity abounds; there are also plenty of adult themes, some drinking and drug use, sexual situations and brief nudity.
TRIVIAL PURSUIT:  Allison Janney and Ellen Page are in the same movie for the third time, after Juno and Touchy Feely.
BEYOND THE THEATER: Netflix
CRITICAL MASS: As of 8/22/16: Rotten Tomatoes: 83% positive reviews. Metacritic: 63/100.
COMPARISON SHOPPING: Castle in the Sky
FINAL RATING: 5/10
NEXT: Der Bunker

Man on a Ledge


Man on a Ledge

Sam Worthington hopes that Elizabeth Banks isn't watching his career plummet over the precipice.

(2012) Thriller (Summit) Sam Worthington, Elizabeth Banks, Jamie Bell, Ed Harris, Anthony Mackie, Edward Burns, Titus Welliver, Genesis Rodriguez, Kyra Sedgwick, Felix Solis, Bill Sadler, Robert Clohessy, Afton Williamson, Pooja Kumar, Frank Pando. Directed by Asger Leth

 

There are a lot of reasons why people climb out on the ledge of a tall building. It could be financial ruin, or a failed love affair. It could be a result of clinical depression, or drug use. Sometimes, the reasons aren’t all that obvious.

Nick Cassidy (Worthington) is standing out on the ledge of the Roosevelt Hotel in Manhattan. Traffic has been diverted and the cops are everywhere. A police negotiator named Jack Dougherty (Burns) is assigned the case but Nick wants a woman – Lydia Mercer (Banks) to be exact. She’s been under a cloud recently ever since she lost a jumper on the Brooklyn Bridge who happened to be a cop.

He’s not just any guy; he’s an ex-cop who escaped from prison only a week prior. He had been accused of stealing (and selling) a $40 million diamond belonging to David Englander (Harris), a cutthroat Wall Street sort who has all sorts of people on his payroll. Nick is being aided by his brother Joey (Bell) and Joey’s girlfriend Angie (Rodriguez) in proving that Nick is innocent and that David still has the diamond – by stealing it.

The plot is pretty simple and straightforward, and Leth tries to keep it that way. While there are several feints and twists as befits any heist movie (and the heist is a central part of the film) for the most part it doesn’t veer too much from the main concept and that’s a plus that many more veteran filmmakers sometimes miss.

Worthington has had great success in the fantasy and science fiction action realms, although he hasn’t quite achieved the stardom you’d expect with movies like Avatar and Clash of the Titans under his belt. He won’t move much farther in that direction with his performance here; he’s a bit wooden and the charisma he showed in those two movies isn’t as much in evidence although to be fair he spends most of the movie standing on a ledge talking to Elizabeth Banks. Nothing wrong with that mind you – just not a lot to work with there.

Rodriguez who plays the sassy girlfriend of his brother adds much needed sparkle, not only visually (she’s quite gorgeous) but also in providing an emotional boost. She provides comic relief but seems to be having the most fun of anyone here and she lights up the screen whenever she’s on it. She has stardom written all over her.

The problem here is that there are a lot of logical missteps. For example one of the stunts has someone leaping off of a 21-story-building and landing safely on one of those air-inflatable stunt mattresses which in real life would have a person-sized hole in it if someone were to do that. Also the brother is supposed to be working class but he has all these sophisticated devices to help him get into the vault. Doesn’t make sense.

Also the film misses out on capitalizing on its location. New York is one of the world’s most recognizable and photogenic cities but the movie could just as well be taking place in Pittsburgh or Toledo, anywhere where there’s a suitable high rise. You never get a sense that they’re in New York – and they freaking’ filmed there! That’s a big no-no in my book.

The movie isn’t all that bad but it isn’t particularly good either. You get a sense that you’ve seen it before and done better throughout. It makes for a decent enough diversion but if you’re going to spend your hard-earned dollars at the box office there are plenty of much better films in theaters right now than this, even at this time of the year.

REASONS TO GO: Solid jobs by most of the cast. Rodriguez is nice eye candy.

REASONS TO STAY: Premise is a bit “been there done that” and there are some logical holes that subvert the plot here and there. Misses on capturing the essence of New York.

FAMILY VALUES: There is a bit of violence and a few choice words.

TRIVIAL PURSUIT: Director Asger Leth is best known for Ghosts of Cite Soleil.

CRITICAL MASS: As of 2/16/12: Rotten Tomatoes: 32% positive reviews. Metacritic: 40/100. The reviews are on the low side of mixed.

COMPARISON SHOPPING: Phone Booth

HEIST LOVERS: The heist sequences are pretty well thought-out and while not super-original, were enjoyable to watch.

FINAL RATING: 5/10

TOMORROW: Gothika