Mamma Mia: Here We Go Again


They’re with the band.

(2018) Musical (UniversalLily James, Amanda Seyfried, Dominic Cooper, Andy Garcia, Pierce Brosnan, Stellan Skarsgǻrd, Colin Firth, Julie Walters, Christine Baranski, Cher, Alexa Davies, Jessica Keenan Wynn, Meryl Streep, Josh Dylan, Jeremy Irvine, Hugh Skinner, Omid Djalili, Anastasia Hille, Anna Antoniades, Maria Vacratsis, Naoko Mori. Directed by Ol Parker

 

I have to confess that I’ve always had a soft spot for the music of ABBA, the Swedish pop group that lit up the charts in the 70s and 80s. Mamma Mia, the musical that utilized the band’s extensive catalogue of hits to celebrate a young girl’s wedding as she tries to figure out which of three possibilities is her biological father. It was a major hit – in 2008. Ten years almost to the day, the sequel arrives.

In it, Sophie (Seyfried), the bride from the first film, is trying to renovate her mother’s Greek Island hotel. Her mamma Donna (Streep) has passed away and poor Sophie is trying to balance mourning for her mom, getting the hotel ready for opening night and dealing with a rocky relationship (she’s separated from husband Sky (Cooper) although she is pregnant). With nearly everyone from the first film returning, along with Cher as Donna’s estranged mom and Andy Garcia as the hotel’s manager, there is a familiarity about the terrain. There are also flashbacks showing Donna’s shenanigans leading to her coming to the Greek islands and getting involved with three different men. The luminescent Lily James plays the younger Donna and she does a terrific job, but she’s no Meryl Streep and the film feels her absence keenly. Streep does return for the most haunting scene in the film as a benevolent ghost observing her granddaughter’s christening.

The plot is essentially an excuse for the musical numbers which I suppose could be said for some classic musicals as well, but here it seems especially glaring. Part of the reason is that the bulk of ABBA’s better-known hits were used in the first film and much of the soundtrack here is made up of album tracks and B-sides so the movie loses much of the familiarity factor that made the first film charming.

Streep’s scene and Cher’s two musical numbers are both the showstoppers here; most of the other numbers are forgettable and kind of repetitive. Also, the beautiful Greek island location of the first film has been swapped out for Croatia in the second; not quite the same. I just didn’t get the same warm fuzzies I got from the first film, more’s the pity. There’s definitely a market for this and I know my wife and son thoroughly enjoyed this way more than I did; however, I found it to be only minimally entertaining at best.

REASONS TO SEE: Streep and Cher are big highlights
REASONS TO AVOID: The plot is terribly flimsy. Streep’s absence is keenly felt throughout.
FAMILY VALUES: There is some mildly sexually suggestive material.
TRIVIAL PURSUIT: Streep is distantly related to both Cher (15th cousin) who plays her mother, and James (9th cousin) who plays her younger self.
BEYOND THE THEATER: Amazon, AppleTV, Fandango Now, Google Play, HBO Go, Movies Anywhere Redbox, Vudu, YouTube
CRITICAL MASS: As of 10/16/19: Rotten Tomatoes: 80% positive reviews: Metacritic: 60/100.
COMPARISON SHOPPING: Jersey Boys
FINAL RATING: 4.5/10
NEXT:
Little Monsters

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A Faithful Man (L’homme fidėle)


Sometimes tenderness can be found in a teacup.

(2018) Romance (Kino-LorberLouis Garrel, Laetitia Casta, Lily-Rose Depp, Joseph Engel, Diane Courselle, Vladislav Galard, Bakary Sangarė, Kiara Carriėre, Dali Benssalah, Arthur Igual. Directed by Louis Garrel

 

Occasionally, life blindsides us. We go along, thinking things are just peachy keen when out of the blue we are hit in the face by some event destined to change our lives forever. Sometimes though, the path we are on is merely a detour rather than an entirely new road.

Abel (Garrel) is a college student living with his girlfriend Marianne (Casta) in her Paris apartment. The two have been friends since high school and as far as Abel is concerned things are going swimmingly well. That’s when she corrals him just before he’s headed for class with a “got a sec?” conversation that turns out to be a little more than a brief “Oh, and by the way…” subject. It turns out that Marianne is pregnant…and Abel isn’t the father. His best friend Paul is…and Marianne means to marry Paul and raise his son with him. Which means Abel has ten days to move out.

Abel takes it remarkably well but then again, the French are certainly more civilized than we Americans when it comes to matters of the heart. An American might have pulled out an AR-15 and shot her in the face and then gone out to hunt down her family…and Paul’s. Fortunately, this isn’t that kind of film.

Flash forward nine years later and Paul has passed away suddenly, Abel has lost contact with both Marianne and Paul over the intervening years and become a journalist. Hearing about his former best friend’s demise, Abel decides to pay his respects and strikes up a conversation with Marianne and eventually giving her and her son Joseph (Engel) a ride home from the cemetery. Eventually Abel and Marianne begin meeting for lunch and before you know it, voila! Abel is back living with Marianne and Joseph.

Joseph is none too pleased with this development and tries to convince Abel that his mother – in collusion with her doctor lover (Galard) – poisoned Paul. He’s fairly effective at it too – Abel ends up conducting an investigation of his own. And just to complicate matters (too late!), it turns out that Paul’s little sister Eve (Depp) has had a massive crush on Abel over the years and now that she’s grown into a woman, thinks that she would be the perfect mate for Abel and that Marianne, who already has proven that she doesn’t really love Abel that much by giving him up a decade previously, should just give him up. Marianne then suggests that Abel move in with Eve and find out whether his heart lies with Eve or with Marianne. Ah, France!

Garrel – a third-generation actor and second-generation director – has delivered a brief but punchy romance that has elements of a comedy (although the comedy is bone-dry here) as well as some genuinely moving moments that while not the lightest and frothiest of French romances, certainly has the sophistication of one. I don’t know if I personally could forgive a former girlfriend who dumped me for my best friend with whom she had been having an affair for a year and even resume a romantic relationship after my friend kicked the bucket, but then again I’m not French. I don’t have the grace to get past my hurt and anger.

Garrel makes for a smoldering romantic lead. As a director, he has a few fine moves, such as when he says in a voiceover “I never knew how to talk to children” and then goes right out and displays why in a conversation with Joseph who is playing him, as Danny DeVito might say, like a harp from Hell. It helps that the script was co-written with frequent Luis Brunel collaborator Jean-Claude Carriere, who has amongst his credits The Discreet Charm of the Bourgeoisie.

The three leads of the triangle – Garrel, Casta and Depp (yes, she’s Johnny’s baby girl) – all perform ably here, particularly Depp who gives Eve dignity without desperation, obsessiveness without creepiness. In the end, Eve is cursed by getting exactly what she wants and isn’t that usually the way?

In any case, I will freely admit that Gallic romances are the finest in all of cinema, and while this isn’t the finest example of the genre, it certainly is a solid one. This is still making the rounds of art house cinemas and should be available to stream in a few months as of this writing. Those who love French films should check it out as should lovers of movies of all flags.

REASONS TO SEE: Nobody understands affairs of the heart like the French.
REASONS TO AVOID: Some might find the comedy a bit on the dry side.
FAMILY VALUES: There’s a fair amount of sexuality.
TRIVIAL PURSUIT: Garrel and Casta are married in real life.
CRITICAL MASS: As of 9/2/19: Rotten Tomatoes: 77% positive reviews: Metacritic: 68/100.
COMPARISON SHOPPING: Paris Can Wait
FINAL RATING: 7/10
NEXT:
Stuck

The Peanut Butter Falcon


Getting away from it all.

(2019) Dramedy (Roadside AttractionsShia LaBeouf, Dakota Johnson, Zach Gottsagen, Bruce Dern, Thomas Haden Church, John Hawkes, Jon Bernthal, Yelawolf, Jake Roberts, Mick Foley, Raquel Aurora, Michael Berthold, Deja Dee, Lee Spencer, Rob Thomas, Mark Helms, Dylan Odom, Nick Morbitt, Noah Hein, Annie Jamison, Susan McPhail, Karen B. Greer. Directed by Tyler Nilson and Michael Schwartz

 

Some movies have their hearts in the right place. You can tell that there’s a sincere desire to shine a light on the marginalized, or tell a story close to the heart of those telling it. But lofty as those ambitions might be, they are not always realized on celluloid.

Zak (Gottsagen) is a young man with Down’s Syndrome who has been warehoused in a nursing home simply because the state has nowhere else to put him. Abandoned by his parents, he is left to rot amongst old folks waiting to die. Zak makes it from day to day because of a dream – to attend the wrestling school of his hero, the Salt Water Redneck (Church) and become a professional wrestler himself.

Although treated kindly by nurse’s aide Eleanor (Johnson), Zak knows that he has to get out of there or risk watching life pass him by with his dreams unfulfilled. With the help of his roommate, crusty old Carl (Dern, who has made a career of portraying cranky old men) and some strategically applied soap, Carl wriggles out of the barred window wearing only his tighty whities and escapes to find his dream.

Tyler (LaBeouf) wants little more than to be left alone and be able to support himself by crabbing on the boat left to him by his older brother (Bernthal) who passed away recently. However, Tyler is one of those guys who is his own worst enemies – drinking too much, drowning in anger issues and playing by his own rules when it suits him, even if his rules supersede the rules of society and decency. On the run with some angry Outer Banks crabbers out for his blood, he and Zak meet and despite Tyler’s initial reluctance, decide to travel together at least as far as Aden, NC (site of the wrestling school) while Tyler high-tails it to Jupiter, Florida afterwards. With Eleanor desperately chasing after Zak, Tyler and Zak find themselves sailing on a raft through the by-waters and estuaries of the Outer Banks in a desperate bid for the freedom that has eluded the both of them all their lives.

This is sort of like Huckleberry Finn by way of the Discovery Channel. The connection between Zak and Tyler is central to the film and to their credit, the two actors manage to carry it off most of the time. The movie never condescends towards Zak’s condition; it is treated matter-of-factly, as the color of his eyes and hairs would be. In a sense, the movie portrays people with Down’s syndrome about as realistically as any movie has ever portrayed them. Again, heart in the right place.

But this is the hard part. I feel like a complete heel for saying this because I think Gottsagen is doing his best, but he doesn’t deliver a compelling performance here. Sad to say, quite the opposite; whenever Zak speaks the film comes to a grinding halt. Lines are bellowed without conviction and you never get a sense of the depth of his obsession with becoming a wrestler. It comes across as an idea that wandered across his radar one day and is just sitting a spell before moving on when supplanted by another. I know it makes it sound like I’m saying that hanging out with people with Down’s Syndrome is annoying and that’s not at all what I’m meaning to convey, but hanging out with this guy with Down’s Syndrome is annoying. I do give the filmmakers kudos for casting someone with Down’s Syndrome to play someone with Down’s and I applaud the effort to bring a marginalized group to the screen in a sympathetic non-comic relief role, but Gottsagen didn’t quite deliver as I might have hoped.

That’s a shame because the cast is marvelous and they all do great work, even Johnson who is often maligned for her work in the 50 Shades of Grey films. Hey, a paycheck is a paycheck and Johnson delivers on the sweet here, although her romance with Tyler comes off as unlikely at best. Still, the movie seems to have a theme of unlikely plot developments.

The cinematography by veteran Nigel Bluck makes nice use of the Georgia wetlands which substitute here for the Outer Banks – apparently the tax incentives are better in Georgia than they are in North Carolina. In any event, the film does its level best to be charming and often succeeds – but often shoots itself in the foot, seemingly taking on a philosophy of The Ends Justify the Means which is a bit disquieting. For those looking for a diversion from the summer blockbusters but can’t wait for the Fall’s Oscar contenders to arrive, this will do in a pinch.

REASONS TO SEE: Never too sweet, never too edgy. LaBeouf reminds us why he was considered one of Hollywood’s up-and-comers not too long ago.
REASONS TO AVOID: Whenever Gottsagen opens his mouth, the movie comes to a grinding halt. Seems to promote an “ends justifies the means” philosophy.
FAMILY VALUES: There is plenty of profanity and some violence.
TRIVIAL PURSUIT: In the scene where Zak, Tyler and Eleanor jump off the oil rig by swinging on a rope, the actors did the swinging; no stunt doubles were used.
CRITICAL MASS: As of 8/27/19: Rotten Tomatoes: 95% positive reviews: Metacritic: 69/100.
COMPARISON SHOPPING: Mud
FINAL RATING: 6/10
NEXT:
Brian Banks

To Dust


“It could be worse. It could be raining!”

(2018) Dramedy (Good Deed) Gėza Röhrig, Matthew Broderick, Sammy Voit, Bern Cohen, Ben Hammer, Leo Heller, Janet Sarno, Ziv Zaifman, Leanne Michelle Watson, Jill Marie Lawrence, Larry Owens, Isabelle Phillips, Marceline Hugot, Natalie Carter, Andrew Keenan-Bolger, Joseph Siprut, Linda Frieser, Stephanie Kurtzuba, Jaclyn S. Powell, Sarah Jes Austell. Directed by Shawn Snyder

 

In life, death is certain but growth is optional. The wisdom of a Star Trek movie “How we deal with death is at least as important as how we deal with life” is lost on most of us. We deal with death by ignoring it.

Shmuel (Röhrig) can’t ignore it. His beloved wife has just passed from cancer and it has thrown him for a loop. A cantor in the Hassidic Jewish faith, he is having a hard time dealing with it – he can’t even tear his coat properly until his mother supplies him with a tiny pair of scissors. Shmuel is nothing if not tied to his faith but he begins to have nightmares of his wife’s body decomposing. Troubled, he seeks the advice of his rabbi (Hammer) but is left unsatisfied. He needs to know precisely what is happening to his wife’s body. He has questions: is her soul suffering as her body decays? He needs to know.

His quest takes him beyond the parameters of his faith and to a scientist. Well, to a guy who teaches science at the local community college: Albert (Broderick). Albert is going through a rough emotional time of his own, having just been divorced. At first, he finds Shmuel’s persistence annoying – anybody would. Shmuel has the dogged determination of a mule trying to get that carrot. Eventually though Albert warms to the scientific aspect of the question and the two begin to delve into “experiments” that are started by an innocent remark on Albert’s part that Shmuel takes literally and eventually involves dead pigs, kidnapped pigs named Harold, road trips and body farms.

This movie is plenty quirky and mostly in an endearing way. Death and the mechanics of bodily corruption are not things we are geared to talk about much as a society. Nobody wants to know about the bacterial breakdown of our mortal remains; nobody wants to hear about maggot infestations and what happens to our skin, our eyes and our brains. It’s a vaguely disturbing subject but it is tackled with surprising compassion here.

It helps having a pair of charismatic leads. Broderick is perfectly cast here to the point where I can’t imagine any other actor playing this role. Albert is a bit of a kvetch in many regards and Broderick excels at those kinds of roles. Albert copes with his grief by smoking a lot of dope and listening to Jethro Tull – in other words, reverting back to his high school years in which he likely smoked a lot of dope and listened to a lot of Tull. I give the movie a lot of cultural points, by the way, for including Tull on the soundtrack. Rock on!

Röhrig, who some might remember from a much different movie called Son of Saul, plays a man who is consumed by his obsession to the point that he can’t see that his sons are also grieving and need him more than ever. His behavior is so odd that the two believe he has been possessed by a dybbuk, a kind of Jewish demon, and are researching the prospect on their own. The problem here is that often we don’t get a sense of Shmuel’s actual grief, the pain of losing someone so beloved although I will give you that maybe his obsessions with the body’s breakdown is his way of dealing with it. We all grieve in our own ways.

I don’t know enough about the Hassidic culture to determine whether or not the production was accurate on their rituals or lifestyle. Shmuel lives in an upstate New York townhouse, drives a station wagon and occasionally curses like a sailor. His sons are conversant with the Internet and computers. This is a different portrayal of their culture than I think most of us are used to.

Death isn’t an easy subject to tackle and our own mortality and the end disposition of our remains may be a little bit too uncomfortable a subject for some. The filmmakers are to be commended for taking it on and handling it in a mostly sensitive way – there is a lot of humor involved here but also a lot of respect for the subject. I’m not saying that this should be considered a primer in grief in any way, shape or form but any movie that allows us to discuss something so basic but so disconcerting deserves praise in any case.

REASONS TO SEE: The film is quirky in an endearing way. Broderick is solid as usual
REASONS TO AVOID: Röhrig is a bit too laconic at times. The subject matter may be too uncomfortable for some.
FAMILY VALUES: There are plenty of disturbing images of corpses, some brief nudity, drug use and a fair amount of profanity.
TRIVIAL PURSUIT: Scenes set at the community college were filmed at the City University of New York’s Staten Island campus.
CRITICAL MASS: As of 3/16/19: Rotten Tomatoes: 89% positive reviews: Metacritic: 66/100.
COMPARISON SHOPPING: The End
FINAL RATING: 6.5/10
NEXT:
Everybody Knows

Song of Parkland


A chorus line of inspiration.

(2019) Documentary (HBO) Melody Herzfeld, Ally Richard, Alex Wind, Ashley Paseltine, Alex Athanasiou, Jared Block, Sawyer Garrity, Emma Gonzalez, Dylan Redshaw, David Hogg, Heather Hart, Emma Summers, Cameron Casky, Molly Reichard, Kelly Mathesie, Ariel Braunstein. Directed by Amy Schatz

 

I’ll be honest with you; I don’t normally review short films. In fact, this is the first one I’ve ever published on this site. Then again, the tragedy at Marjorie Stoneman Douglas High School in Parkland, Florida on February 14, 2008 – less than a week from the one-year anniversary of the event as I write this – resonates with me in a way that few events can. For one thing, it happened in Florida where I live. For another, this was in many ways the straw that broke the camel’s back as teens who were tired of this same old story being repeated over and over and over again with “thoughts and prayers” being the only political response that came of any of these massacres.

On that terrible day drama teacher Melody Herzfeld sheltered her 65 drama students in a store room for two hours until police came to escort them out. Only then did the students – and their teacher – discover that 17 of their peers had died in the tragedy and another 17 were injured. And the survivors needed to find a way to cope with that. How can a 14-17 year old find the strength to deal when most adults can’t?

For Herzfeld, the answer was to finish what the kids had started. They had been working on the children’s musical Yo, Vikings and were in rehearsal the day of the shootings. The drama department puts on an annual kid’s play and it is one of the highlights of their season. The show must go on and so it does and we get to watch it unfold but it isn’t without cost. The kids are hurting deep inside and it comes out, sometimes in unexpected ways. Two of the young people write songs about their feelings, helping them to process what they are going through (we get to hear both songs during the course of the film). And yes, the students go under a media microscope as several of them (including some in the drama class) choose to become advocates of gun control and become the faces of change for a generation. Admired by some, demonized by others, these young people say what you will about them at least made an effort to make change for the better although of course that will depend on your definition of “better.”

Schatz relies heavily on talking head interviews with the kids, interspersed with news reports and occasional cell phone footage. This isn’t about the shootings themselves – we don’t see that aspect of it – but about how the kids adjusted to unthinkable trauma. When the students are interacting with each other, goofing around, being themselves – those are the best moments in the film. Even the real heart-tugging moments – the Tony Awards performance of “Seasons of Love” from Rent, for example – is less compelling.

I would have actually liked to have seen a full-length feature made here and spend more time with say, the parents of the drama students, other teachers besides Herzfeld, that sort of thing. We definitely get a very limited perspective and while it is most valid to concentrate on the students themselves, ranging a bit further opinion for perspective would have brought a little more clarity.

I got the sense that this was an act of catharsis, not only for the filmmakers but for the students themselves. I’m sure that in the days that followed the tragedy they became used to describing their feelings and the events as they saw them must have gotten to be old hat but there feels like there was a lot of genuine emotional healing going on here. It’s gratifying to see but also heartbreaking that it was necessary. This is by no means the perfect documentary but it is, in it’s brief 28-minute run time unforgettable.

REASONS TO GO: The students express themselves well through song. The film is powerful, timely and heartbreaking. One gets the sense that it was cathartic for all involved just making this documentary.
REASONS TO STAY: The film is overly reliant on talking head interviews.
FAMILY VALUES: While none of the violence is depicted, the themes of grieving and feeling of insecurity at school may be difficult for impressionable children.
TRIVIAL PURSUIT: Schatz won an Emmy for her work on the documentary Through a Child’s Eyes: September 11, 2001.
BEYOND THE THEATERS: HBO Go
CRITICAL MASS: As of 2/8/19: Rotten Tomatoes: 80% positive reviews. Metacritic: 73/100.
COMPARISON SHOPPING: Parkland: Inside Building 12
FINAL RATING: 9/10
NEXT:
Heading Home: The Tale of Team Israel

Adult Life Skills


Jodie Whittaker feels at home in the shed that is as cluttered as the TARDIS.

(2016) Dramedy (Screen Media) Jodie Whittaker, Lorraine Ashbourne, Brett Goldstein, Rachel Deering, Eileen Davies, Alice Lowe, Edward Hogg, Ozzy Myers, David Anderson, Andrew Buckley, Christian Contreras, Alfie Wheeler. Directed by Rachel Tunnard

 

In 2018, British actress Jodie Whittaker made history becoming the first female Doctor in the beloved sci-fi series Doctor Who. Before that, she was largely unknown other than appearances on the British TV show Broadchurch and the independent sci-fi flick Attack the Block. She also did indie films like this one which opened in the UK two years ago.

Anna (Whittaker) is days away from her 30th birthday and she’s stuck in a garden shed. Not literally; she’s been using it as a studio for her short films of her thumbs made up as astronauts on a doomed space trip in which they are crashing into the sun. Life must feel a lot like that to Anna; she used to make little videos with her twin brother Billy (Hogg) until he passed away unexpectedly. She essentially lives in the shed which sits on her mother’s property in West Yorkshire. Occasionally, she forgets to bring in clean clothes with her and so has to make a mad dash to the house half-naked to get some.

This has been her living arrangement for some 18 months since her brother died and her mum (Ashbourne) is sick of it. She desperately wants her remaining daughter to move on and start living her life again. Anna’s grandmother (Davies) is a little less frantic about it than her daughter who seems bound and determined to make matters worse but still she knows her granddaughter needs to make changes, although the grandmother thinks a good shagging is all Anna needs.

Brendan (Goldstein), a work colleague (Anna works at an outdoor activities center part time) would dearly love to supply Anna with just that but Anna has decided in her head that Brendan is gay. Brendan is not but he is a realtor who is enlisted by Anna’s mum to find a cheap flat for her daughter which turns out to be a disaster; most of the properties that Anna can afford are absolutely hideous.

When Anna’s best friend Fiona (Deering) returns from travelling, she also tries to kickstart Anna’s life with some success but things really start to change when she meets Clint (Myers), a young cowboy-obsessed boy who is just as quirky as Anna who is undergoing a similar trauma to the one that Anna suffered and the two begin to identify with each other but Anna is an expert at pushing people away. Will she ever find her way back to the land of the living?

The film not only serves as a treatise on grief but also as a paean to the deliberately weird. Nearly all the characters here are off-kilter in one way or another not unlike certain American indie films that star Greta Gerwig. Like those films, sometimes the quirkiness wears on the viewer and becomes almost forced but the good news is that it does only to a lesser extent. However, the thick Yorkshire accents used by the character can be incomprehensible at times; home viewers should definitely watch this with subtitles turned on. The dialogue though when you can understand it is actually quite clever; lines like one in which Fiona, exiting a pub, exclaims “It’s like The Wicker Man in there” can be quite brilliant.

A lot of Whovians are going to want to see this because of Whittaker and to be honest her performance is worth seeing whether you’re a fan of the series or not. It’s a very different role and some of her fans from the venerable BBC sci-fi show may not be able to accept her in a role like this. Anna is far from the self-assured and brilliant Doctor; she is a woman-child coping with an overwhelming tragedy and not always doing it well. In the hands of a lesser talent viewers might just shut down watching Anna make terrible choices and do things that are weird in an eye-rolling sense but Whittaker’s charm carries the day. Like other actors who have taken on the role of the Timelord, she has enough screen presence to continue with a career that transcends the TARDIS; I wouldn’t be surprised if she eventually gets lead roles in franchise films or maybe even some Oscar bait films. She’s truly an incredibly versatile talent.

Like a lot of British films, the soundtrack is absolutely brilliant. The supporting cast is solid and the production design gives the film a cluttered but lived in tone. At the end of the day my recommendation is going to depend on your ability to tolerate quirkiness; those with low tolerances should probably skip this one but those who don’t mind a little off-beat with their independent cinema may well find this delightful.

REASONS TO GO: The film is blessed with a terrific soundtrack. Whittaker is sublime in a very different role.
REASONS TO STAY: The film rapidly goes from quirky to annoying. The dialogue is occasionally incomprehensible.
FAMILY VALUES: There is a fair amount of profanity as well as one sexual scene. There are also some fairly adult themes.
TRIVIAL PURSUIT: The feature film is based on a 2014 short that also starred Whittaker.
BEYOND THE THEATERS: Amazon, iTunes, Vudu
CRITICAL MASS: As of 1/19/19: Rotten Tomatoes: 74% positive reviews: Metacritic: 49/100.
COMPARISON SHOPPING: Rabbit Hole
FINAL RATING: 6.5/10
NEXT:
Burning

Anthem of a Teenage Prohet


In a world where appearance is everything, posing is a natural extension of life.

(2018) Drama (SP Releasing) Cameron Monaghan, Grayson Gabriel, Peyton List, Juliette Lewis, Aaron Pearl, Richard de Klerk, Alex MacNicoll, Alex McKenna, Patti Allan, Beau Daniels, Sebastian Greaves, Joshua Close, Jasmine Sky Sarin, Danny Woodburn, Alex Lennarson, Malcolm Craig, Jaden Rain, Spencer List, Robert W. Perkins, Raj Lal. Directed by Robin Hays

 

Being a teenager is nothing resembling easy. Coping with a world whose rules shift almost daily and are confusing even on a good day coupled with raging hormones that make rational thought nearly impossible make it no wonder that teens are synonymous with angst. When you throw in some supernatural abilities, things get even more complicated.

Luke Hunter (Monaghan) is a fairly typical teen in a small Michigan town in the mid-90s. He gets from place to place via skateboard, hangs out with a group of friends who listen to rap but dress like grunge, smokes way too much, drinks when he can, gets stoned when he can and generally tries to figure out who he is and what he wants to do with his life.

One afternoon while hanging out with his friends including his boyhood friend Fang (Grayson) who likes to climb things and golden boy Stan (MacNicoll) who is the boyfriend of Faith (P.List) whom he has a fairly serious crush on, he has a vision. Stoned out of his mind, Luke blurts out that one of them is going to die the next day, hit by a truck with out of state plates. “Blood on the sidewalk,” he murmurs while everyone looks at him in amusement. Luke’s really baked isn’t he ha ha ha.

But nobody is laughing the next day when Luke’s prediction comes horribly true down to the smallest detail. The looks change from amusement to suspicion and downright fear. When a reporter overhears one of the incredulous teens blurt out that Luke had predicted the tragedy and later broadcasts it on the air, Luke’s life becomes something of a media circus.

Luke withdraws further into himself despite his supportive ex-hippie mom (Lewis) and somewhat clueless dad (Pearl). Faith, suffering through the loss of someone she cared about, is drawn to Luke who is going through the same thing. However, it’s not quite the same thing; Faith is not in the media’s eye as Luke is, nor is she an object of fascination in the same way Luke is. He doesn’t know what to do and ends up lashing out. Not to mention that he gets another vision about someone who is going to die.

Some may be drawn to this movie, which is based on a novel by Joanne Proulx, by the supernatural element but those folks are bound to be disappointed as that element is definitely played down. This is much more about surviving the teenage years than about dying during them. We are witnessing Luke’s emotional growth which isn’t always pretty. Luke is a complex character, one who is a talented artist, who adores his mother (as much as any teen boy would be willing to admit to) and pretty much just wants to be left alone to find his own way, also pretty much like all teen boys.

Monaghan is best known for playing a Joker-like character in the Fox Batman show Gotham but this is an entirely different performance here. Far from being manic, Luke is a bit of an introvert and Monaghan captures that personality well, from the distrust of others to the banter he has with those he does let inside. Given the diversity of performances in the two I’ve seen of him so far, I think that it isn’t being premature to say that this actor has enormous potential. Time will tell whether he can acquire the roles that will allow him to realize it. My one problem with him is that he tends to pose a little too much; it doesn’t look natural.

The writers and actors do a great job of capturing the swagger of boys on the cusp of becoming men. They think of themselves as invincible and their lack of life experiences don’t bother them – they revel in their inexperience in many ways. They are young and un-bloodied by life until the death of one of them catches them all up short.

While the swagger is perfectly depicted, the dialogue is less successful. It’s not that the dialogue isn’t intelligent and snappy – it is both those things – but it is not the way teen boys in the mid-1990s talked. It is more like the way boys in 2018 talk, from the rhythms of their speech to the expressions they use. Kids tend to use a lot of slang and jargon, which is a way of setting their own generation apart. You get none of that here.

While the film borrows its tone from a few disparate sources (one that I noticed was Final Destination minus the macabre deaths) other critics have name-checked the work of John Hughes and Gus van Sant. While the movie is a little bit on the long side, it is a very different teen movies. It doesn’t talk down to its intended audience and it tackles some fairly serious concepts. I don’t know how many teen boys will want to see this movie – this isn’t the kind of movie they typically choose to see – but this is a movie about them and one they would no doubt recognize. That may work against the film as its niche audience may somewhat ironically be disinclined to see it. Still, it is a worthwhile watch for those who want to understand teens a little better.

REASONS TO GO: The film nicely captures teenage boy swagger.
REASONS TO STAY: The dialogue sounds more like 21st century than mid-90s.
FAMILY VALUES: There is all sorts of profanity, teen drinking, smoking and drug use, some violence and dangerous behavior.
TRIVIAL PURSUIT: At the time of filming, Monaghan and List were dating.
BEYOND THE THEATERS: Fandango Now, iTunes, Vudu
CRITICAL MASS: As of 1/16/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Project Almanac
FINAL RATING: 6.5/10
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An Acceptable Loss