Hereditary


Toni Collette practices her Oscar acceptance speech.

(2018) Horror (A24) Toni Collette, Gabriel Byrne, Alex Wolff, Milly Shapiro, Christy Summerhays, Morgan Lund, Mallory Bechtel, Jake Brown, Harrison Nell, Briann Rachele, Heidi Mendez, Moises Tovar, Jarrod Phillips, Ann Dowd, Brock McKinney, Zachary Arthur, David Stanley, Bus Riley, Austin Grant, Gabe Eckert, Jason Miyagi, Marilyn Miller, Rachelle Hardy, Georgia Puckett  Directed by Ari Aster

There are critics who shouldn’t be allowed to review some genres. Those who abhor emotional manipulation should not be allowed to review romantic comedies. Those who think movies exist only to illuminate and educate shouldn’t be allowed to review Hong Kong action films or superhero films for that matter. There are some who don’t have the patience for kid flicks. and there are plenty of critics who don’t get horror movies at all who should be kept away from horror movies with physical restraints – and I suspect some of them would be just fine with that. Me, I love horror movies so at least you won’t get genre snobbery below.

\Annie Graham (Collette) is burying her recently deceased mother. She is strangely ambivalent about it; her relationship with her mom was strained to say the least. In fact, the only member of the family who is sorry to see the old lady go is the youngest, daughter Charlie (Shapiro) who is as creepy a child as you’re likely to find on any movie screen, theatrical or home.

Annie has kind of a strange job; she’s an artist who builds miniature rooms with meticulous detail. These rooms are largely from her own past and present. Annie is already kind of a high strung sort much to the chagrin of her stoner teenage son Peter (Wolff) and grounded husband Steve (Byrne). When a second tragedy strikes the family, it threatens to send Annie over the edge.

Reluctantly, she attends a grief-counseling group where she runs into Joan (Dowd), a motherly sort who has lost her husband and son to a car accident. She confides in an increasingly depressed Annie that she has discovered a means of communicating with the dead. Given a straw to cling to, Annie seizes it with both hands but as anyone who knows anything about the horror genre knows, it’s never a good idea to contact the dead.

Now, the synopsis above makes this sound like a pretty run-of-the-mill horror concoction but I assure you that it is not. This is one of the most justifiably acclaimed horror movies of this year or maybe even any other year, both by critics who do get horror films and fans of the genre alike (not to mention film buffs and cinephiles). The movie is ingeniously crafted, a slow burn that builds to an absolutely twisted finale that will leave you terrified of turning out the lights for days.

One of the reasons to love this movie is Toni Collette. Horror films rarely generate Oscars for actors but this is one that truly deserves to. Collette’s depiction of Anne’s descent into paranoid madness is the stuff of horror rubbernecking – you simply can’t turn away. Collette has been nominated for Oscars before but this may well be her best performance. I can’t imagine anyone topping it. The rest of the performances are strong, particularly the always-reliable Byrne, the up-and-coming star Wolff and veteran character actor Dowd. Shapiro is also particularly strong but she doesn’t get as much screen time as the others.

Steve Newburn is credited with designing the miniatures; they are exquisite and add considerably to the creepy factor So too does the score which doesn’t take cheap shots with ersatz scares. When the really scary stuff starts to unfold, it’s honest and quite frankly, this movie is scary as fcuk. Seriously, if you are easily frightened or overly sensitive this movie may well be too much for you.

This is not the kind of movie that throws jump scares at you to keep you off-balance. This is a slow-building ticking time bomb that immerses you in an atmosphere that is both normal and not-quite-right. As things begin to go off the rails for Annie, we begin to understand she’s not the most reliable of narrators. Is it really happening? I say yes. Whether you’re on the same page as I am, this is certainly one of the most unforgettable horror movies of the past decade and if you didn’t see it during its brief run this past summer, you NEED to see it this Halloween.

REASONS TO GO: Collette delivers a career-defining performance. The ending sequence is terrifying. It’s very likely to become a horror classic. The dysfunctional family dynamic feels authentic.
REASONS TO STAY: This might actually be too scary for some.
FAMILY VALUES: There is plenty of graphic violence and disturbing imagery, some drug use and brief nudity.
TRIVIAL PURSUIT:  Wolff, Byrne and Shapiro knew each other from previous film work; Collette alone didn’t know any of the actors that played her family, contributing to her sense of isolation which comes out in the film.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 10/28/18: Rotten Tomatoes: 89% positive reviews. Metacritic: 87/100.
COMPARISON SHOPPING: Rosemary’s Baby
FINAL RATING: 9.5/10
NEXT:
Six Days of Darkness Day Four

An L.A. Minute


Your life can change in an L.A. minute.

(2018) Comedy (Strand) Gabriel Byrne, Kiersey Clemons, Bob Balaban, Ed Marinaro, Lynn Renee, Ned Bellamy, Jane McNeill, Katherine Kendall, Craig Anton, Ash Adams, Kimberly Crandall, Brianna Baker, Brad Ashten, Patrick Donohue, J.R. Howell, Anastasiya Mitrunen, Jake Adams, Daniel Guttenberg, David Wood, Jasmine Flanders, Ashley Borders. Directed by Daniel Adams

 

Los Angeles is a dichotomy. Most people think about the glitz and the tinsel, the shining illusions of Hollywood that everyone in Los Angeles is either a gang-banger on the East side or a studio executive in Beverly Hills with a tendency more towards the latter than the former. What outsiders don’t realize is that Los Angeles is a sprawling megalopolis with as many faces as a city of tens of millions of people can muster. Los Angeles is in many ways inherently unknowable even by Angelenos. I grew up there and I can’t claim to know it; it changes aspects when you’re gone from town for a month let alone twenty years.

Ted Gold (Byrne) is a successful author which in L.A. terms means his books become movies. He lives in a Malibu mansion with his wife Susan (Renee) sleeping on the opposite side of a bed that could easily sleep ten and with a personal chef and maid who start off every morning by spitting in his breakfast. That gives you an idea of how highly Ted is regarded by those around him.

That would include his ditzy agent Shelly (Balaban), his beautiful publicist Tracy (Kendall) and his long-suffering wife Susan (Renee). Ted’s latest “masterpiece” is Kinky Cadavers which is about a homeless serial killer. He ventures out from his Malibu mansion to take meetings, do rounds of publicity on radio shows and talk shows, and have lunch with his agent.

When he accidentally loses a lucky medallion, he goes on a journey among the homeless of Los Angeles and discovers a young performance artist named Velocity (Clemons). He is entranced by her forthrightness, her intelligence and her passion. Under her tutelage he will undergo a journey that will transform his life – and hers.

According to the press notes, this script was written 20 years ago and it shows its age. The cliché of Los Angelinos being kale-chomping New Age douchenozzles is older than that still, and while there are a few who are like that it’s really not universally true. Most of the L.A. residents I know are actually pretty down-to-earth. These kinds of stereotypes and jokes aren’t going to resonate much with those who live in the City of Angels although they might give a few yucks to those who don’t.

Byrne is one of those actors who’s a consummate pro; he never turns in a subpar performance and while he’s appeared in a few clinkers in his time, he generally elevates any film he’s in but this is a rare exception and it’s mainly because it’s the way the character is written. There isn’t one sincere bone in Ted Gold’s body and even when he is confessing his urges to give up the crap he’s writing for something more meaningful, it feels fake and forced – some even see it as a ploy to get more books sold and I’d guess Ted is totally capable of it.

Clemons is actually the scene stealer here; as she was in such films as Hearts Beat Loud. What life there is in the movie mainly comes from Clemons character, who is a free spirit yes but who turns out to be not exactly what she appears to be. Even such cringe-inducing dialogue like “He lost his potency because he lost his purpose” is given a measure of respect in the way she says it which is no easy task, let me assure you.

There are some nice touches here, such as interludes between scenes set in the streets are young people dancing to rap songs, while those set in wealthy areas have sprightly pop music and scenes of SoCal splendor. They get points for filming in Skid Row with homeless extras, but they lose their points for doing that for essentially a woe-is-me rich person problems theme that deals with the problems of being famous. That’s pretty tone deaf if you ask me.

Essentially this movie is The Book of Job given a modern secular twist but as interesting an idea as that might be it relies too much on cliché humor, jokes that don’t hit the mark often and a kind of cynical view of “the industry” and those connected with it. There’s a lot of fertile material in taking on the star-making machine and our celebrity-obsessed society but the movie doesn’t reallyharvest any of it; instead the writers play it safe and that’s what we get here, a movie that feels like people (with the exception of Clemons and Byrne) are just going through the motions to collect a paycheck. This isn’t close to unwatchable but it is only barely recommendable

REASONS TO GO: Clemons is a breath of fresh air.
REASONS TO STAY: A little bit (actually, a lot) on the pretentious side and full of L.A. clichés.
FAMILY VALUES: There is plenty of profanity and a bit of sexual content.
TRIVIAL PURSUIT: Mariel Hemingway was originally cast but dropped out just prior to filming.
CRITICAL MASS: As of 8/27/18: Rotten Tomatoes: 0% positive reviews: Metacritic: 15/100.
COMPARISON SHOPPING: L.A. Story
FINAL RATING: 5/10
NEXT:
Iron Brothers

New Releases for the Week of June 8, 2018


OCEANS 8

(Warner Brothers) Sandra Bullock, Cate Blanchett, Anne Hathaway, Helena Bonham Carter, Rihanna, Mindy Kaling, Elliott Gould, Dakota Fanning, Awkwafina. Directed by Gary Ross

Danny Ocean’s sister is released from jail and looks to prove herself by taking on an Ocean-like heist – robbing the annual Met Gala in New York City. However, she can’t do it alone; she’ll need a team of larcenous ladies. Sound familiar?

See the trailer and video featurettes video here.
For more on the movie this is the website.

Release Formats: Standard, 3D, Dolby, IMAX, RPX, XD
Genre: Heist Action
Now Playing: Wide Release

Rating: PG-13 (for language, drug use, and some suggestive comments)

First Reformed

(A24) Amanda Seyfried, Ethan Hawke, Cedric the Entertainer, Victoria Hill. A priest in a small congregation in upstate New York discovers he’s been sent to close the parish down following a tragedy. Grappling with worldly concerns as well as a tormented past of his own, he struggles to keep his faith in a world where that is increasingly hard to find.

See the trailer and a video featurette here.
For more on the movie this is the website

Release Formats: Standard
Genre: Drama
Now Playing: Regal Winter Park Village, Rialto Spanish Springs Square

Rating: R (for some disturbing violent images)

Hereditary

(A24) Alex Wolff, Gabriel Byrne, Toni Collette, Milly Shapiro. After the death of a family’s matriarch, they begin to suspect that there are mysteries in their ancestry that might have dire consequences in the here and now. The buzz on this horror film has been HUGE.

See the trailer and video featurettes here.
For more on the movie this is the website

Release Formats: Standard
Genre: Horror
Now Playing: Wide Release

Rating: R (for horror violence, disturbing images, language, drug use and brief graphic nudity)

Hotel Artemis

(Global Road) Jodie Foster, Sterling K. Brown, Sofia Boutella, Jeff Goldblum. In a future Los Angeles that is being torn apart by riots, a Nurse runs a secret members-only emergency room for criminals.

See the trailer, video featurettes and a clip here.
For more on the movie this is the website

Release Formats: Standard
Genre: Science Fiction
Now Playing: Wide Release

Rating: R (for violence and language throughout, some sexual references and brief drug use)

On Chesil Beach

(Bleecker Street) Saoirse Ronan, Emily Watson, Anne-Marie Duff, Billy Howle. A young newlywed couple in 1962 England find that their storybook romance is colliding with the reality of changing sexual mores, class pressure and evolving expectations leading to a fateful wedding night.

See the trailer and clips here.
For more on the movie this is the website

Release Formats: Standard
Genre: Drama
Now Playing: AMC Altamonte Mall, AMC Disney Springs, Regal Winter Park Village, Rialto Spanish Springs Square

Rating: R (for some sexual content and nudity)

Revenge

(Neon/Shudder) Matilda Lutz, Kevin Janssens, Vincent Colombe, Guillaume Bouchéde. The mistress of a French billionaire accompanies him to his remote hunting cabin in the desert prior to a hunting trip with the boys. When the other hunters arrive early, a party spirals out of control and leaves the woman in a fight for survival where there’s only life and death. This played this year’s Florida Film Festival.

See the trailer here.
For more on the movie this is the website

Release Formats: Standard
Genre: Horror
Now Playing: Enzian Theater

Rating: R (for strong bloody gruesome violence, a rape, sexuality, graphic nudity, drug use and language)

The Seagull

(Sony Classics) Elisabeth Ross, Saoirse Ronan, Annette Bening, Corey Stoll. In the early 20th century, an aging actress and her lover visit the estate of her elderly and infirm brother. This is based on Anton Chekhov’s classic play.

See the trailer here.
For more on the movie this is the website

Release Formats: Standard
Genre: Drama
Now Playing: Regal Winter Park Village

Rating: PG-13 (for some mature thematic elements, a scene of violence, drug use, and partial nudity)

ALSO OPENING IN ORLANDO/DAYTONA:

Kaala
Mary Shelley
Sid and Aya
Zoo

ALSO OPENING IN MIAMI/FT. LAUDERDALE:

Bernard and Huey
Breath
Filmworker
Kaala
Here Comes Miss Modern
Let the Sunshine In

ALSO OPENING IN TAMPA/ST. PETERSBURG:

Kaala
Let the Sunshine In

ALSO OPENING IN JACKSONVILLE/ST. AUGUSTINE:

Breath
Kaala
Sid and Aya

SCHEDULED FOR REVIEW:

Hereditary
Hotel Artemis
Oceans 8
On Chesil Beach

Louder Than Bombs


Father and son.

Father and son.

(2015) Drama (The Orchard) Gabriel Byrne, Isabelle Huppert, Jesse Eisenberg, Devin Druid, Amy Ryan, Ruby Jerins, Megan Ketch, David Strathairn, Rachel Brosnahan, Russell Posner, Maryann Urbano, Donna Mitchell, Harry Ford, Leslie Lyles, Luke Robertson, Peter Mark Kendall, Paul C. Kelly, Sean Cullen, Charlie Rose, Marielle Holland, Bridget McGarry. Directed by Joachim Trier

Florida Film Festival 2016

We sometimes underestimate the effects we have on our children as parents. Our presence can be destructive if we do or say the wrong thing – but not nearly so destructive as not being there at all.

Isabelle Reed (Huppert) was one of the most decorated war photographers on the planet. However her job took her away from her husband Gene (Byrne) – an actor – and her two sons Jonah (Eisenberg) and Conrad (Druid). Gene left his career in order to raise the kids while mom was away, which was often. However, she finally announced her intention to give up the life of a war correspondent and spend more time at home with her family. Shortly after that, she died in a tragic car wreck.

Now four years later a prestigious New York art gallery/museum is doing a retrospective on her work and Gene enlists the help of Jonah – who is now married and expecting his own first child in the near future – to help sort through her last photographs, which Gene has never been able to look at. He also needs help with Conrad, who has become combative with his father, blaming him for his mother’s death or at least using him as a target for his blame. Conrad spends a lot of time playing Skyrim and wandering the streets aimlessly and alone; his father has taken to following his son discretely. Or maybe not as discretely as he thinks.

As we find out through flashback footage, Isabelle had secrets of her own and as Gene finds out that one of them is about to be revealed in the pages of the New York Times which will devastate Conrad even further, Gene doesn’t know how to soften the blow, which is the worst thing he could possibly do is continue to keep secrets from his son. As all this comes to a head, the dysfunction of all three of the members of this family will start spinning wheels that will change their lives forever.

This is the first English language feature (and third overall) by up-and-coming Norwegian director Trier. Like many of his films, the undertones here are grim for the most part, dealing with abandonment issues, the pain of betrayal and the dysfunction of a family that has had one member torn from it.

Gabriel Byrne is one of the most reliable actors out there. He’s never flashy, but he always brings dignity and gravitas to his roles. Here he plays a very nice man who has lost his rock and his having trouble finding his own spine because of it. He avoids and avoids and avoids but at the end of the day, that does nothing good. He loves his sons with a passion and misses his wife with an ache that never goes away. The portrait of Gene is heartbreaking to say the least.

No less so is Huppert’s portrayal of Isabelle, a driven woman who finds fulfillment through her muse and less through her family, which makes for a certain amount of resentment and guilt. The dead are no angels in life; Isabelle does some things that will make a few people recoil. And that’s what happens from time to time in life; people who seem decent and good do things that are not. And sometimes it is others that pay the price, but more often, the price the transgressor pays is much higher than one could imagine.

Druid plays the angry teen a little too well – there are times you want to scream at him “You selfish PIG! Do you not understand that you aren’t the only one who’s grieving? That you’re not the only one who’s hurting?” But the truth of the matter is that kids that age often can’t see beyond their own pain. They haven’t the tools to. Time gives us that, and time can be a cruel teacher. Be that as it may, Conrad is so thoroughly unlikable that I had trouble watching him. I probably hated the character more than he deserved. Maybe not, though.

There are some real moments of poetry here but this is mostly an examination of pain, and that can be…um, painful. It’s not always an easy thing to watch people dealing with the absence of a loved one and trying to find the answers to questions that may not be answerable. We can only know those around us so well, but sometimes it turns out that we don’t even know them at all. Louder Than Bombs (not to be confused with the Smiths album) turns out to be a very fine film that is often hard to watch but is worth the effort to do so.

REASONS TO GO: Strong performances by Byrne and Huppert. Heartrending subject.
REASONS TO STAY: The teenage character is accurately portrayed – and thoroughly unlikable.
FAMILY VALUES: There is some sexual content and nudity, violent images and a fair amount of foul language.
TRIVIAL PURSUIT: The movie that Conrad and Jonah watch together with their dad is Hello Again which actually starred Byrne and Shelly Long.
CRITICAL MASS: As of 6/12/16: Rotten Tomatoes: 68% positive reviews. Metacritic: 70/100.
COMPARISON SHOPPING: Harrison’s Flowers
FINAL RATING: 7/10
NEXT: Midnight Special

New Releases for the Week of April 22, 2016


The Huntsman Winter's WarTHE HUNTSMAN: WINTER’S WAR

(Universal) Charlize Theron, Chris Hemsworth, Emily Blunt, Jessica Chastain, Nick Frost, Rob Brydon, Sam Claflin, Sophie Cookson, Sheridan Smith. Directed by Cedric Nicolas-Troyan

This prequel to Snow White and the Huntsman pits Queen Ravenna and her sister the Ice Queen Freya, at odds over the magic mirror. Following a tragic heartbreak, Freya retreats to a remote ice castle where she works on training an army of huntsmen with one rule; harden your hearts against love. When her two best break that law, they are banished but when Freya is betrayed by her sister, only the banished Huntsmen can save her.

See the trailer, clips and a featurette here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Fantasy Adventure
Now Playing: Wide Release

Rating: PG-13 (for fantasy action violence and some sensuality)

A Hologram for the King

(Saban) Tom Hanks, Ben Whishaw, Tom Skerritt, Sarita Choudhury. A businessman, down on his luck and desperate, goes to Saudi Arabia to close the deal that could save him. However the inevitable culture clashes stymie his attempts to make the deal happen. He is forced to rely on a wise-cracking taxi driver and an alluring Saudi doctor to help him win through.

See the trailer and a clip here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Dramedy
Now Playing: AMC Altamonte Mall, Regal Waterford Lakes, Regal Winter Park Village

Rating: R (for some sexuality/nudity, language and brief drug use)

 Compadres

(Pantelion) Eric Roberts, Kevin Pollak, Omar Chaparro, Joey Morgan. A Mexican cop, framed for a crime he didn’t commit, is released from prison and sets his sights on Santos, who is the one who framed him. However, Santos has kidnapped the cop’s girlfriend and taken her across the border to San Diego. The cop’s one chance at getting his girlfriend alive is to work with an unlikely ally – a teenage American hacker who stole $10 million from the crime boss. But it will take all their disparate skills to stay one step ahead of Santos who wants the both of them dead.

See the trailer here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Comedy
Now Playing: AMC Disney Springs, Regal The Loop

Rating: NR

Elvis & Nixon

(Bleecker Street) Michael Shannon, Kevin Spacey, Alex Pettyfer, Johnny Knoxville. It’s a legendary photo; rock legend Elvis Presley and President Richard M. Nixon shaking hands at the White House. But what were the circumstances for this historic meeting? This film is a fanciful and funny supposition as to what really happened.

See the trailer, clips and a featurette here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Historical Comedy
Now Playing: AMC Altamonte Mall, AMC Disney Springs, Regal Winter Park Village

Rating: R (for some language)

Everybody Wants Some!!

(Paramount) Blake Jenner, Juston Street, Ryan Guzman, Tyler Hoechlin. Doing for the 80s what Dazed and Confused did for the 70s, director Richard Linklater goes to college in that decade, following a bunch of freshmen trying to navigate the social minefield that is higher education while trying to make the baseball team. As is usual for a Linklater film, expect an awesome soundtrack.

See the trailer and clips here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Period Dramedy
Now Playing: AMC Altamonte Mall, Regal Waterford Lakes, Regal Winter Park Village

Rating: R (for language throughout, sexual content, drug use and some nudity)

Louder Than Bombs

(Paladin) Jesse Eisenberg, Gabriel Byrne, Amy Ryan, David Strathairn. When a famous war photographer passes away, her sons and their father drift apart. When they reunite for a celebration of her life several years later, the fractured family is forced to confront their feelings about the woman who spent so much time away from them, and each other. This played the Florida Film Festival last week.

See the trailer and a clip here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Drama
Now Playing: Enzian Theater

Rating: PG (for language, some sexual content, nudity and violent images)

Miles Ahead

(Sony Classics) Don Cheadle, Ewan McGregor, Michael Stuhlbarg, Emayatzy Corinealdi. After a period of inactivity jazz legend Miles Davis is returning to the limelight with an album that would eventually take its place among the greatest ever recorded. He spends a few lost days with a writer from Rolling Stone conspiring to recover stolen master tapes and reminiscing about his romance with Frances Taylor.

See the trailer and clips here.
For more on the movie this is the website
.
Release Formats: Standard
Genre: Biographical Drama
Now Playing: AMC Altamonte Mall, AMC Disney Springs, Regal Winter Park Village

Rating: R (for strong language throughout, drug use, some sexuality/nudity and brief violence)

The 33


Chippendale's goes underground.

Chippendale’s goes underground.

(2015) True Life Drama (Warner Brothers/Alcon) Antonio Banderas, Rodrigo Santoro, Juliette Binoche, James Brolin, Lou Diamond Phillips, Mario Casas, Jacob Vargas, Juan Pablo Raba, Oscar Nuňez, Tenoch Huerta, Marco Treviňo, Adriana Barraza, Kate del Castillo, Cote de Pablo, Elizabeth De Razzo, Naomi Scott, Gustavo Agarita, Bob Gunton, Gabriel Byrne, Paulina Garcia. Directed by Patricia Riggen

One of the problems with bringing a real life event to the big screen, such as the sinking of the Titanic or the destruction of the Hindenburg is that everyone knows what’s about to transpire pretty much. For the mine collapse of the San Jose copper mine in Chile’s Atacama Desert on August 5, 2010 that trapped 33 miners miles below the surface for 69 days, most people are aware of how that turned out.

For most of the miners of the San Jose copper mine, August 5, 2010 was just another working day. After a retirement party for Mario Gomez (Agarita) who has just a few days to retire, Mario Sepulveda (Banderas), engineer Luis “Don Lucho” Urzua (Phillips), Elvis impersonator Edison Pena (Vargas), Dario Segovia (Raba), a homeless alcoholic and the devout Jose Henriquez (Treviňo) are among those who go down to earn their living, even though there are signs that something catastrophic was about to occur (and in real life, several miners had died and the mine owners repeatedly fined for poor safety conditions in the century-old mine).

Then a rock twice the size of the Empire State Building shifts and falls, burying the miners miles below the surface. When the 33 miners in the bowels of the earth reach their refuge, they discover that the medical supply cabinet is empty, the emergency food rations nearly so, and the telephone to the surface unconnected. The ladders in the ventilation shaft are also discovered to have never been completed. At first the miners take out their frustrations on foreman Urzua but Sepulveda’s level head prevails. They go about rationing the little food and water they have access to.

On the surface, the families of the miners, led by Maria Segovia (Binoche), the estranged sister of Dario, demand to be informed as to what is being done. The mining company, without the wherewithal to mount an expensive rescue operation, has decided to assume the men are dead and are making only token attempts to see if the miners are alive. The arrival of Chile’s Minister of Mines Laurence Golborne (Santoro) changes that; as he quickly discovers the lack of interest on the mining company’s part of getting their employees home alive, he takes charge of the rescue operation, with the blessing of Chilean President Piňera (Gunton) and with the assistance of mining engineer Andre Sougarret (Byrne).

In the meantime, things are looking dire in the mines as the first boreholes sent to the shelter miss their targets. However, once the miners are discovered alive and well, the gaze of the world turns to this compelling story in a small Chilean town.

Part of the problem with The 33 lies in its own title; there are 33 miners trapped underground and the movie can’t really spend a whole lot of time developing any of their characters. Throw in the families, political and media figures, the rescue teams including the one led by American Jeff Hart (Brolin) and it’s nearly impossible for director Riggen to give us a figure for the audience to latch onto, with the exception of the larger-than-life “Super Mario” who became a media darling in Chile during the actual event.

So a solid cast led by Banderas and Binoche, one of the most gifted actresses in the world, is left with frustratingly little to do other than occasionally mouthing a cliche meant to project their character’s role in the movie as comic relief, antagonist, love interest and so forth. Riggen has been criticized for this somewhat but to be fair I don’t think any director could have wrangled all of these characters and made them three dimensional unless she had a mini-series to do it with. Going back to Super Mario, during the movie there’s an incident when the miners turn on him because of his perceived favored status. One wonders if the actors in the film felt the same about Banderas who is really the only one of them who gets to make any sort of impression.

The rugged Chilean desert nicely contrasts with the mine scenes which were filmed in working mines in Columbia. They do capture nicely the flavor of being deep underground, although the sense of just how deep they were gets a little lost – in reality it would take the miners about an hour to reach the level they were trapped on from the surface, and of course an hour to return.

The movie glosses over some of the more disturbing aspects of the story, such as the mining company’s negligence or the absolutely disgraceful dismissal of their lawsuit three years after the disaster, or of the Chilean government’s opportunistic use of the miners to prop up their own sagging popularity. However, to be fair, the movie makes it clear that this was a defining moment in the history of Chile and that cannot be overlooked.

All in all, it’s an uplifting story that is a tribute to human endurance, the unmistakable power of hope, and the undeniable lure of bare masculine chests. I don’t know that the movie captured the true nature of what the miners endured – the second half of the movie there is almost zero tension because by that time supplies were making regular appearances down a tube from the surface, they had video communication with the surface and they made it seem less of a life-threatening situation than an endurance race. In the actual situation, there were serious doubts that the miners would survive – the unstable geological situation and the unknown performance of the rescue capsule were certainly question marks. Unfortunately, Riggen doesn’t really capture that adequately and maybe no director could have. After all, it’s no secret (and therefore not a spoiler) that all of the miners were rescued. That’s certainly the outcome we all wanted, but as dramatic cinema goes it doesn’t really stack up well.

REASONS TO GO: Inspiring. Plenty of beefcake.
REASONS TO STAY: Lacks character development. Little tension since we know how it ended.
FAMILY VALUES: There’s some minor profanity and a disaster sequence that might be a bit scary for young ones.
TRIVIAL PURSUIT: The final film to be scored by the late James Horner, who died in a plane crash two months before the movie’s release.
CRITICAL MASS: As of 11/29/15: Rotten Tomatoes: 42% positive reviews. Metacritic: 55/100.
COMPARISON SHOPPING: October Sky
FINAL RATING: 6/10
NEXT: Spotlight

New Releases for the Week of November 13, 2015


The 33THE 33

(Warner Brothers) Antonio Banderas, Rodrigo Santoro, Juliette Binoche, James Brolin, Lou Diamond Phillips, Bob Gunton, Gabriel Byrne. Directed by Patricia Riggen

In 2010, the eyes of the world were on Chile when 33 miners were trapped in a copper mine by a catastrophic explosion and collapse of the mine. For 69 days, an international team of mine experts frantically tried to rescue the men who survived underground. With barely enough food and water, with air running out and oppressive heat wearing them down, the race against time to bring the miners home became a desperate one. While we all know how the story ended, we don’t know the real story. This is apparently it.

See the trailer, clips and a featurette here.
For more on the movie this is the website.

Release Formats: Standard
Genre: True Life Drama
Now Playing: Wide Release
Rating: PG-13 (for a disaster sequence and some language)

Love the Coopers

(CBS) Diane Keaton, John Goodman, Ed Helms, Marisa Tomei. The Cooper family has made an annual tradition of gathering at Christmas. Four generations of Coopers have grown up with this tradition. This year however, their celebration will be thrown askew by unexpected visitors, unlikely events and a renewal of family bonds that withstand the test of just about any calamity.

See the trailer and clips here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Holiday Comedy
Now Playing: Wide Release
Rating: PG-13 (for thematic elements, language and some sexuality)

My All-American

(Clarius) Aaron Eckhart, Finn Wittrock, Sarah Bolger, Robin Tunney. Freddie Steinmark has been an underdog all his life. Considered too small to play football, he perseveres and becomes a champion in high school. His fight and determination attracts the attention of legendary University of Texas coach Darryl Royal who awards Freddie a scholarship. His determination and leadership turn around a losing team, but it was only after a devastating injury leads to a shocking discovery that the heart of a champion truly surfaces.

See the trailer, clips, interviews and B-roll video here.
For more on the movie this is the website.

Release Formats: Standard
Genre: True Sports Drama
Now Playing: Wide Release
Rating: PG (for thematic elements, language and brief partial nudity)

End of Days


 

End of Days

All the Governator needs is a big gun and a trigger to shoot with.

(1999) Supernatural Horror (Universal) Arnold Schwarzenegger, Gabriel Byrne, Robin Tunney, Kevin Pollak, CCH Pounder, Derrick O’Connor, Miriam Margolyes, Udo Kier, Rod Steiger, David Weisenberg, Rainer Judd, Michael O’Hagan, Mark Margolis, Jack Shearer. Directed by Peter Hyams

 

He’s battled un-killable battle robots, nuclear terrorists, druglords, barbarians, monsters of every shape, size and description. Isn’t it about time Arnold Schwarzenegger took on the devil?

It’s just a few days before the end of the 20th Century. New York City is gearing up for the biggest party of the Millennium, but there’s an uninvited guest – Old Scratch, who has been waiting for this shindig a lot longer than Mayor Giuliani. For, y’see, he’s got a wedding to go to – his own – and once the union is consummated, it’s curtains for mankind. Yeah, he’s gonna party like it’s 1999.

Enter Jericho Cane (Schwarzenegger), an ex-cop now making his living as a security guard, still grieving over the deaths of his wife and daughter at the hands of the mob, using the bottle to help him cope. When his charge, a Wall Street investment banker (Byrne) is attacked by a deranged Roman Catholic priest, Cane and his partner (an amusing as usual Kevin Pollack) start digging into the attempted murder and discover more than they want to.

As is usual with most devil movies, a lone, imperfect hero fights an implacable, insurmountable foe with little more than his lack of faith to sustain him. Byrne makes a charming Satan – less over-the-top than Al Pacino’s Lucifer in Devil’s Advocate. Byrne underplays Satan as a subtle, affable fella – who rather than fly into a demonic rage when provoked instead creates terrifyingly sudden acts of violence without much of a change of expression.

Schwarzenegger is surprising here, showing a depth of pain he usually doesn’t convey. He kicks patootie, sure, but he’s a very flawed and vulnerable man, who can cry for a lost family in moments of weakness. He has lost faith in his religion, in the system and finally, in himself. He neither wisecracks his way through flying bullets, nor does he bravado his way around falling chunks of masonry; he merely survives everything that is thrown at him. Early on, when he is hit by sniper’s bullets, instead of shrugging off the wounds, he stays down to the point where his partner calls him a wuss. Imagine, the Terminator a pantywaist. Unthinkable.

Also worth noting are Steiger as an irritable priest who holds the answers to most of Schwarzenegger’s questions, Tunney as the object of the Devil’s affections and Pounder as an officious detective. As devil movies go, the cast is as strong as any since The Exorcist, which remains the benchmark for the genre.

Lots of whiz-bang special effects, lots of things go boom, plenty of female breasts. What’s not to like? Well, the main failing of most devil movies is that the devil is vanquished a bit too abruptly in a bit too cliché a manner. Also, there are a lot of logical flaws; throughout the movie, Satan kills with a crook of his fingertips, and shows no hesitation in doing so. Why not simply dispatch Ah-nold and take out his only obstacle to a successful Armageddon?

End of Days is a visual treat and, with only a few semi-dead spots, an exciting ride. Even given Schwarzenegger’s surprising acting skills, it may not appeal to those with genuine end of the world Millennium fears. Just don’t hate it ’cause it looks beautiful.

WHY RENT THIS: Schwarzenegger’s unusually emotional performance. Some pretty nifty devil fu.

WHY RENT SOMETHING ELSE: A bit dated, particularly in it’s end-of-the-world-Y2K stuff.

FAMILY MATTERS: There’s plenty of violence and gore, a lot of sexual context and some graphic nudity and of course language, language, language.

TRIVIAL PURSUITS: Sam Raimi, Marcus Nispel and Guillermo del Toro were all offered the director’s chair for the movie at one time or another and all turned it down.

NOTABLE DVD FEATURES: None listed.

BOX OFFICE PERFORMANCE: $212M on a $100M production budget; the movie made a little bit of money.

FINAL RATING: 6/10

TOMORROW: The Muppets

Perrier’s Bounty


Perrier's Bounty

Murphy, Whittaker and Broadbent stroll away from yet another catastrophe.

(2009) Gangster Comedy (IFC) Cillian Murphy, Jim Broadbent, Brendan Gleeson, Jodie Whittaker, Gabriel Byrne (voice), Liam Cunningham, Michael McElhatton, Domhnall Gleeson, Ned Dennehy, Patrick McCabe, Glenn Speers, Natalie Britton. Directed by Ian Fitzgibbon

Sometimes, you’re left in an impossible situation; one in which, either through your own ineptitude or through no fault of your own there is no good outcome. There are times when the lesser of two evils is to go medieval on somebody’s ass.

Michael McCrae (Murphy) is a small-time hood in Dublin who owes a thousand Euros to Darren Perrier (Brendan Gleeson), a big-time hood. He has sent a couple of thugs to inform young McCrae that they will return in four hours to collect – and if he doesn’t have the cash, they will break a leg. Four hours later they’ll break another leg. And so on and so forth until every limb is broken and all that’s left is to shoot him dead. Perrier doesn’t mess around, obviously.

At first McCrae seeks to get the amount from another loan shark known only as The Mull (Cunningham) but when that falls through, McCrae is left to the mercy of the thugs. He is saved when his neighbor Brenda (Whittaker) whom McCrae has had a crush on for ages, accidentally shoots one of the thugs.

This pisses Perrier off no end; he regards it as nothing less than a challenge to his authority. He authorizes a bounty on the head of the two of ten thousand Euros. Now McCrae are on the run along with McCrae’s dad Jim (Broadbent) who has had a premonition that he’s going to die the next time he falls asleep. With every hood in Dublin gunning for them, fleeing town seems to be the only option but that won’t be easy either.

For more than a decade gangster movies have made a resurgence in the UK and really for my money they are the best in the world at making them (although the Chinese have made some pretty intense gangster movies as well). This is not one that’s going to be at the top of the list, but neither is it going to be at the bottom either.

Murphy is a likable enough sort and he has the acting chops to go a lot farther in Hollywood than he has to date. He lacks that one vehicle to lift him over the top and make him a viable property over here; even appearances in the Christopher Nolan Batman movies haven’t done it for him yet.

Brendan Gleeson is as rough and tumble as they come and he’s done several turns as a bad guy, particularly in In Bruges (although audiences may know him best as Mad-Eye Moody in the Harry Potter films). He’s one of the best character actors in the business and lends a certain amount of cachet to any film he participates in. His Darren Perrier is quite an S.O.B. but Gleeson keeps him from becoming a standard paint-by-numbers villain by making him interesting and quirky.

Most of the rest of the mostly Irish cast (with the exception of Broadbent who is English and also one of the finest character actors in the world) aren’t well known in the States, although Whittaker, who plays Brenda with some spunk and verve should be and could be eventually (although she’s English too – hmmm). Still, there are solid performances all around and the movie is the better for it.

The main problem is that there isn’t anything that particularly stands out from other gangster movies. The idiom requires a hook of some kind; a lead character without a name, a shootout in a medieval town, a language spoken only by a few in the UK, a missing parcel. Something that is more than just trying to get away from the bad guys – although the movie isn’t boring by a long shot either.

The script is well-written and the dialogue is clever, so the movie is smart in its own right. It just doesn’t take any chances, which is a shame because it could have used a few risks. Still, it has a great cast and any movie with Murphy, Broadbent and Gleeson in it is worth watching.

WHY RENT THIS: Gleeson, Broadbent and Murphy are always wonderful and Whittaker does a terrific job as well.

WHY RENT SOMETHING ELSE: Not really very groundbreaking when it comes to gangster flicks.

FAMILY VALUES: There is an awful lot of violence (which you’d expect in an Irish gangster flick), a whole lot of swearing (which you’d also expect in an Irish gangster flick) and a smattering of drug use.

TRIVIAL PURSUIT: Fitzgibbon is currently completing his next film, based on the novel Death of a Superhero.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $167,938 on an unreported production budget; I’m thinking this probably lost a few bucks.

FINAL RATING: 6/10

TOMORROW: Rio