Be Still


Tea for two.

(2021) Biographical Drama (Ceroma) Piercey Dalton, Daniel Arnold, James McDougall, Amber Taylor, Meredith Hama-Brown, Sophie Merasty, Anja Savcic, Cameron Grierson, Brendan Taylor, Dakota Guppy, Ariel Ladret. Directed by Elizabeth Lazebnik

 

Back in the days where photography was a novelty, just taking a picture was pretty much a big deal. Eventually, adventurous souls discovered that images could be manipulated and a capturing of image became art. So had paintings progressed from imagery to impression, so did photography.

Hannah Maynard (Dalton) was a bit of an oddity; living in the 1880s in Victoria, British Columbia, she operated a photography studio with her husband and was much in demand as a portraitist. Her husband Richard (Arnold) was known for landscapes and natural photography, but Hannah was a wizard in the studio. She took hundreds, thousands of photos of newborn babies in British Columbia. As she took the daguerreotype, she would murmur “be still” to her subjects, because the old photographic plates required several moments for the image to be imprinted.

But of late Hannah wasn’t acting like herself. She was prickly and sometimes downright rude. She threw herself into her work, spending hours upon hours in the laboratory, coming out with her clothes stinking of chemicals. She couldn’t treat anyone with decency; not client, not her husband, not even her adorable little daughter Lillie (Taylor), who often pestered her. Her husband was beginning to fear for her sanity, consulting Dr. Fell (McDougall) who prescribed all sorts of strong pharmaceuticals.

But Hannah was becoming obsessed with multiple exposures, something that cinema’s Georges Melies would eventually become famous for. She had pictures of herself, sitting in three different places serving her other selves tea. Herself, in an impish portrait, was about to pour milk over her own head.

But as she and Richard were drawing further apart, it was clear that something was terribly amiss, something that was messing with her mind. Would it succeed in tearing her sanity into shreds, or would she find the strength to resist?

What’s going on may not become readily apparent, particularly if you don’t know the story of the real Hannah Maynard. I didn’t, and that’s not surprising; she has mostly been lost to history, despite the compelling and groundbreaking nature of her images. Had she been a man, it is likely everyone would know the name, but because she was a member of the fairer sex, for some reason that means her accomplishments have to be discounted. It’s something of a travesty and also something the film doesn’t deal with except in an oblique way.

Dalton bears a striking physical resemblance to Maynard, albeit minus the Victorian penchant for stern, unforgiving countenances. She has a difficult role to tackle; the Hannah Maynard portrayed here is snippy, and often argumentative. But she is a troubled soul, and Dalton gets that across beautifully.

The big problem here is that Lazebnik, who has made a number of short films including a previous one on Maynard, in her feature debut tends to overuse visual and audio effects. There is a constant industrial buzz that sometimes becomes overbearing, and the optical effects soon become tiresome. I understand the rationale in trying to portray the world as Maynard saw it, but Lazebnik should have trusted the story to do that and less on the camera tricks. It’s not that she shouldn’t have used them, it’s just that she overused them to the point where it became too noticeable. A little more nuance would have been more effective.

Nevertheless, she does a great service in presenting the story of a woman whose name should be better-known, but isn’t. Maynard’s actual photographs are shown during the closing credits, and they were very much ahead of her time. When you think of those big special effects-laden Marvel movies that we all seem to love so much, we should give a silent thank you to Maynard, whose innovation made movies like that possible.

The movie is making it’s world theatrical premiere Wednesday at the Vancouver International Film Festival, although it is currently available online at the Festival website in Canada through October 11. It is likely to make the rounds at various film festivals in the winter and spring; keep an eye out for it at your local festival.

REASONS TO SEE: A compelling story with a fine performance by Piercey Dalton.
REASONS TO AVOID: Overuses the optical, lighting and audio effects.
FAMILY VALUES: There are some adult themes.
TRIVIAL PURSUIT:T he film is based on a stage play by Janet Munsil.
BEYOND THE THEATERS: VIFF online site (Canada only – through October 11)
CRITICAL MASS: As of 10/4/21: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: Modigliani
FINAL RATING: 5.5/10
NEXT:
Old Henry

Language Lessons


Beauty and the beast.

(2021) Drama (Shout!) Mark Duplass, Natalie Morales, Desean Terry, Christine Quesada. Directed by Natalie Morales

 

Friendships can develop in unlikely places, and in unlikely ways. In this modern age of communication, we don’t even need to live in the same hemisphere to develop a deep and meaningful relationship with someone else. That can be a double-edged sword.

Cariño (Morales) is a Spanish teacher living in Costa Rica when she dials into a Zoom meeting with a new student. That turns out to be middle aged Adam (Duplass), who received 100 lessons in Spanish as a birthday gift from his husband Will (Terry). Adam and Will live in a rambling mansion in the Oakland hills and fairly drip with wealth and privilege. Cariño lives in an area of much natural beauty that she likes to show off to her students. As it turns out, Adam already speaks Spanish fairly fluently, but had mentioned offhandedly that he was rusty and needed an immersion course to get him back to fluency. Will pounced on that tidbit of information, as married partners will, and voila.

But the situation turns on a dime when Adam informs her of a personal tragedy. He is numb, bewildered and somewhat lost. Cariño, who barely knows him, is nevertheless kind, sympathetic and comforting and Adam begins to feel a real friendship with her.

As the lessons progress, we see that the two people from apparently disparate backgrounds begin to bond, and despite the reluctance of Cariño to let her walls down, the teacher and student become friends. But isn’t it true that some boundaries shouldn’t be crossed? Not in this case.

I think it’s safe to say that this movie is long on charm and short on production values; it’s essentially filmed as a series of Zoom calls and while the two stars are almost always onscreen together, they’re never physically in the same place until the very final scene. Even so, there’s a great deal of chemistry between the two. Both Morales and Duplass have a great deal of onscreen charm and charisma, and both utilize both of those traits to the hilt here. Duplass, in particular, delivers a performance that is often raw and emotional, although Morales gets a few juicy scenes of her own. However, the one thing that is the center of the film – the friendship between the two – is believable every second that it develops.

There is a bit of fantasy indulgence here – I wonder if the movie would have fared a little bit better had Adam been not so wealthy, although two years’ worth of weekly Spanish lessons might be an indulgence only a wealthy person would consider. It’s just that the ending felt a little contrived because of it, and might have been a bit more realistic had the writers not been given too easy of an out.

One thing I really liked about the movie is that you never know where it’s going next. Too often, movies follow familiar formulae and tread well-travelled trails. Not so this one; even though there are a few tropes here and there, they feel like they belong rather than they were inserted for convenience or as cinematic shorthand. You do have to work for this one a little bit, but in a pleasant way and that is certainly not often the case, even for a lot of independent films.

Most of the movie is in Spanish, although it is amusing to note that the subtitles also reflect Adam’s grammatical errors as well. And while the movie is about the beginnings of an unlikely friendship, there is also dealing with loss and disappointment, but in the grand tradition of movies dealing with grief, it ends up being a life-affirming experience.

Some might be suffering from Zoom fatigue and may not necessarily want to spend an hour and a half watching someone else’s Zoom conversation, but that would be a shame because this is a deeply emotional movie that delivers all the feels, something all of us can use lately. Also, as an additional bonus, it doesn’t mention COVID at all, although clearly the pandemic had a lot to do with the way this was filmed. While it’s playing exclusively in theaters at the moment, it will doubtlessly be available to stream soon. And although I find myself writing a closing sentence I never thought I’d ever use, you may want to wait for it to hit a streaming or VOD service – if ever a movie was meant to be seen on a laptop, it’s this one.

REASONS TO SEE: Duplass and Morales are both incredibly charming and deliver powerful performances. You never know where the movie is going. Like most films about loss, it’s very life-affirming.
REASONS TO AVOID: People might be a little burned out by communicating via Zoom.
FAMILY VALUES: There is some brief mild profanity and adult themes.
TRIVIAL PURSUIT: This is Morales’ first feature film as a director; she also directed several episodes of Duplass’ anthology TV series Room 104.
CRITICAL MASS: As of 9/13/2021: Rotten Tomatoes: 96% positive reviews; Metacritic: 68/100.
COMPARISON SHOPPING: Italian for Beginners
FINAL RATING: 8/10
NEXT:
Azor

Triaphilia


You never know what you’ll find in an old steamer trunk.

(2021) Horror (LAS Productions) Kenny Ledee, Chelsea Rose Barreto, Vincent Caprio, Suzanne Johnson, Ashley Laessig, Jenn Nobile, Esra Ozgun, Rink Patel, Katie Raulerson, Saniye Reyhan, Kurt Slter, Julia Wyrzuc, Mary Zaroura, Kurt Slater, Tony Murphy, Daniela Favaloro. Directed by Joshua Nelson

 

The wisdom goes that the easiest kind of movie to make is a horror movie. That is about as far from the truth as it gets. Horror films are relatively inexpensive to make (which is why studios love them so much) but they are damned hard to get right. Making a good scare requires as much forethought and planning as any CGI, and when not done properly, can lead to a horror movie that isn’t scary. A lot of tyro filmmakers go into horror films with that attitude and make tepid films that please nobody. That is not always the case, however.

Triaphilia is a horror anthology film with three short stories linked together by an antiques and curios store called The Anointed Cherub, which might give you a clue as to who the proprietor (Ledee) really is. He caters to the customer, giving them what they need, although not necessarily what they want. All of his wares come with a real dark side to them.

The first story brings Sal (Patel), who is meeting his girlfriend Karen’s (Raulerson) parents for the first time and he hopes to impress them by bringing them a gift, although she is of the opinion that he would be much better served buying something for her instead. The proprietor convinces Sal to purchase an antique mirror. You can probably see where this is going, as mirrors rarely merely show a reflection in horror movies.

The second story has a trio of fun-loving girls – Bonnie (Laessig), Jeanine (Wyrzuc) and Ruby (Zazoura) – buy an urn that purportedly has the ashes of a serial killer in them. That’s all good for grins and giggles until the deceased killer’s wife (Ozgun) wants her hubby’s ashes back – and she’s not about to take no for an answer.

The final story revolves around Susan (Nobile), a grieving mom who was always a little off but her beloved son Franklin’s death has really sent her around the bend. Her friends Zoe (Barreto) and Ronnie (Reyhan) volunteer to help her store Franklin’s things and at the Anointed Cherub they find a big steamer trunk for the purpose. However, as it turns out, the trunk isn’t exactly empty.

None of the stories are groundbreaking, but they don’t have to be. The third story has the most depth to it and the first the most humor. What matters in a movie like this is that the stories are executed properly, and on that matter the jury is unfortunately out. From a technical standpoint, the movie excels in several ways; the cinematography is absolutely first-rate, so kudos to Michael Zayac in that regard. The gore effects are all practical and while fairly low-budget, are at least competently done.

Where the movie is less successful is in the performances; the acting feels flat and lifeless in a lot of places. One reason for that may be the dialogue which often doesn’t sound like real people talking so much as what looks good on a written script. One of the sins often committed by screenwriters (particularly those that are relatively new to it) is that they fail to actually speak the dialogue out loud before committing it to the script. That often helps make the dialogue sound more natural and less like a book on tape. Also, too many of the characters are shallow and none-too-bright. A little more variety could have been useful, particularly in the female characters. The two actors who fare best is Ledee, who seems to be having the most fun with his role, and Nobile who gives her part equal pathos and WTF-ness.

By no means is this a truly bad movie – I’ve seen plenty of those to know what one looks like – but making movies is a learning experience and that’s what’s happening here. There’s enough that is worthwhile to take a look, so long as you don’t set the bar too high for it. I didn’t feel compelled to switch the movie off, so it held my interest as it is likely to hold yours. There are plenty of movies that don’t even make it that far.

The movie is currently unavailable to screen, but is set to be available in the last quarter of the year on Amazon and other streaming services.

REASONS TO SEE: The cinematography is extremely strong.
REASONS TO AVOID: The acting is flat and the characters for the most part not terribly well-written.
FAMILY VALUES: There is plenty of violence (some of it bloody) and profanity, including sexual references.
TRIVIAL PURSUIT: Although the film defines triaphilia as the “fear of death coming in threes,” the Latin words actually translate to “love of things that come in threes” and refers more to the belief that things occur in threes rather than a fear of it.
CRITICAL MASS: As of 9/5/21: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: Needful Things
FINAL RATING: 5.5/10
NEXT:
The Sleepless Unknown

The Fatal Raid


Happiness is a warm gun.

(2019) Crime Action (Well Go USA) Jade Leung, Hidy Yu, Min Chen Lin Andrew Kam Yeung-Wa, Kristy Yeung, Aaron Boggs, Jeana Ho, Michael Tong, Patrick Tam, Sin-Hang Chiu, Elaine Tang, Man-kit Yuan, Jadie Lin. Directed by Jacky Lee

 

The “girls with guns” Hong Kong action film subgenre is pretty much what it sounds like; equal parts action and titillation, sort of like Charlie’s Angels with a bit of an edge and a little more cheesecake. For the most part, that subgenre has fallen by the wayside as the mainland Chinese government, which tends to be a little less lenient towards sexuality in cinema, has essentially become overseers of the thriving Hong Kong moviemaking scene. This movie, directed by veteran Jacky Lee, looks to if not resurrect the subgenre, at least pay tribute to it.

An elite Hong Kong police unit, trying to apprehend a criminal gang in Macau, is ambushed leading to a bloody gunfight that leaves numerous members of the team dead. The police brass, as is often the case, hushed up their own role in botching the raid. Now, 20 years after the event, the surviving participants are haunted by the events of that day. Heading back to Macau for a celebration honoring the heroes of the police force, they are led into an ambush with the same gang. Will history repeat itself, or will justice finally prevail?

The plot here is pretty generic and it isn’t terribly well-developed. Most of the emphasis is on the extended gun battles (there are three of them that take place in the film) and less so on developing the characters. The focus seems to be, strangely enough, on Detective Tam (P. Tam) who despite being the lone male on the team becomes the point of focus here – I imagine the #MeToo movement hasn’t made much headway in China just yet. Tam is a fine actor – don’t get me wrong – but if you’re going to cast someone like Jade Leung, who was one of the mainstays of the genre and a terrific actress in her own right – you should damn well make better use of her. As it is, her presence is so commanding as the police inspector that she still manages to steal the film anyway.

Now, I’m not trying to kid myself – most people are going to see this movie for the action sequences and they aren’t that bad. The problem is, they aren’t that memorable either, which is surprising. I have actually seen the movie that this is a sequel to, and there is far more connection between the films than is usual for sequels in the Chinese movie business, which is also surprising. However, the sequel isn’t going to inspire anyone to run right out and rent the film that preceded it which is a shame, because it’s a much better (and much more fun) movie than this one is. The tone here is grim and a bit of a downer, rather than lighthearted and brain-melting, which is normally what you want out of a Hong Kong action movie. See it for the opportunity to watch Jade Leung at work, but there’s not much other reason to take a chance on this one.

REASONS TO SEE: Jade Leung is a compelling presence.
REASONS TO AVOID: The unmemorable plot really drags in the middle third.
FAMILY VALUES: There is plenty of violence, some sex and a fair amount of profanity.
TRIVIAL PURSUIT: The movie is a sequel to Special Female Force.
BEYOND THE THEATERS: Amazon, AppleTV, Microsoft, Vudu
CRITICAL MASS: As of 8/30/21: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: Iron Angels
FINAL RATING: 6/10
NEXT:
Kipchoge: The Last Milestone

The Macaluso Sisters (Le sorelle Macaluso)


Facing the future together.

(2020) Drama (Charades) Viola Pusatieri, Eleonora De Luca, Simona Malato, Susanna Piraino, Serena Barone, Maria Rosaria Alati, Anita Pomario, Donatella Finocchiario, Ileana Rigano, Alissa Maria Orlando, Laura Giordani, Rosalba Bologna, Bruno Di Chiara. Directed by Emma Dante

 

One of life’s few universal truths is that we all experience both joy and sadness; triumph and loss. Those things mold us, shape us into the people we become; some through the memory of golden moments, other through the bittersweet acrimony of what might have been.

The five Macaluso sisters live in a shabby but spacious top-floor apartment in Palermo, Sicily. They keep doves in what had once been a playroom long ago, doves that they rent out for parties, weddings, magic shows and so on. The doves return back to their nest once they’ve finished with whatever spectacle they’ve been rented to. The sisters have been orphaned but don’t seem terribly traumatized by it.

Maria (De Luca) is the oldest and most responsible; she handles the business and for the most part keeps the lights on and the pantry from being bare. Next is vain Pinuccia (Pomario) who is all about make-up and flirting with boys. Then there’s bookish Lia (Piraino) who squabbles endlessly wth Pinuccia. Plump Katia (Orlando) is next and the youngest is Antonella (Pusatieri), who although five is ready to be a big girl. She begs Pinuccia to dab some lipstick on her mouth, which Pinuccia does in an affecting scene – the first of many.

Once the business is done for the day, Maria gets the girls ready for a day at the beach. Not being very well-off, they mostly walk there, finding a field full of plaster dinosaurs to play in, and once they get to the beach which is fronted by an exclusive club to which they are not invited, they lead the bathers in an impromptu dance. But the day’s joy turns to tragedy.

The rest of the film is all about how the sisters deal with that tragedy, and is told in three acts; the first is the day at the beach, the second takes place about twenty years later as the girls are now adult women, at which an adult Maria (Malato) has some startling news, and an adult Katia (Giordani) tries to convince the stubborn adult Lia (Barone) – in whose name the apartment is – to sell the crumbling apartment so that each of the sisters might get something to help them out financially.

The third and final act is the shortest and takes place when the sisters are elderly women. Throughout the apartment remains, growing shabbier as time passes. The doves also remain, much to Katia’s annoyance. Dante (no relation to the American director Joe Dante) gives the movie a fairly sad, bittersweet tone which only increases as the film goes on. The younger Macaluso sisters get the most screen time as their section is essentially the film’s longest, as they show up in flashbacks throughout the film. The nature of the tragedy which essentially shapes the lives of the sisters is hinted at throughout the movie, but shown in full near the end in perhaps the only misstep of the film; I don’t think it was necessary to show it, to be honest. There is also a scene in the idle of Lia, who is apparently studying to be a veterinarian, dissecting a cow which might set off alarm bells for the squeamish.

Dante uses Erik Satie’s elegiac Gymnopédie No. 1 throughout, mostly sourced as the music for a clock that plays the well-known tune, and then in the piano version most of us are familiar with. The piece is often used in cinema as a metaphor for growing old, and its use here is fitting.

Although most of the action takes place in the apartment, the movie never feels claustrophobic. The first third is incredibly joyful which makes the second and third acts all the more poignant; Dante does a wonderful job using tone throughout the movie. And while the metaphor of the doves may be a bit overdone here, it isn’t so overdone as to become monotonous and quite frankly the relationships between the sisters at various times in their lives was absolutely compelling for me.

The movie, which premiered at Venice last year, is probably not on the radar of a lot of cinephiles since it isn’t getting distribution by one of the more noted arthouse labels, and that’s a shame because this is an absolute gift of a movie. It’s playing in New York and Los Angeles only at the moment, but there are plans to release it in select theaters around the United States throughout August. Hopefully, it will be playing in a theater near you but certainly keep an eye out for it on VOD when it becomes available there if not.

REASONS TO SEE: Intensely, powerfully emotional. A realistic examination of sisterhood.
REASONS TO AVOID: Occasionally melodramatic.
FAMILY VALUES: There is profanity, nudity, sexual content, adult themes and an animal dissection.
TRIVIAL PURSUIT: The film is based on a stage play, also written by Dante.
CRITICAL MASS: As of 8/14/21: Rotten Tomatoes: 100% positive reviews; Metacritic: No score yet.
COMPARISON SHOPPING: Our Little Sister
FINAL RATING: 7.5/10
NEXT:
The Suicide Squad

Meander (Meandre)


Not for the claustrophobic.

(2021) Sci-Fi Horror (Gravitas) Gaia Weiss, Peter Franzen, Romane Libert, Frédéric Franchitti, Corneliu Draomirescu, Eva Niewdanski, Cari Laforét, Henri Benard, Fabien Houssaye, Olympe Turi. Directed by Matthieu Turi

 

Great loss can leave us in such pain that life itself becomes wearisome. Our reason for living seems as tenuous and inconsequential as the mist; we stare off into the deep blue something and wait to die.

Lisa (Weiss), a French ex-pat working as a waitress somewhere in the West, knows that pain all too well. Her daughter (Libert) passed away and today would have been her ninth birthday. Lisa is alone lying on a lonely road, hoping for someone to come along and put her out of her misery. And someone does; Adam (Franzen), a night watchman who works nights because “I hate people,” He doesn’t run Lisa over but he offers her a ride in his truck which, after some hesitation, she accepts. They chat and he does get Lisa to open up somewhat. “I don’t want to die,” she informs Adam, “I just want to see my daughter again.”

Just about then a news report comes on the truck radio warning about a serial killer who can be recognized by a cross tattoo on the killer’s wrist. And damn if Adam doesn’t have such a tattoo on his wrist…for Lisa, it’s fade to black.

When she wakes up, she’s in a bizarre high tech tunnel. She’s wearing a neoprene jumpsuit and a wrist bracelet with a bright glowing light and a timer counting down from eleven minutes. She soon figures out that she has to navigate each section of the tunnels – which turn out to be a maze – in those eleven minutes or face a particularly nasty death, whether being fricasseed by flamethrowers, drowned in a murky pool, dissolved in an acid bath, or mauled by an alien creature that stalks the maze. There’s also a skull-like creature with a mechanical eye that seems sympathetic, repairing her injuries. There are also a few grisly corpses to remind her about the penalty of failure.

At first, the movie seems to be unrelenting, pointless torture of an attractive female character and I have to admit, I was thinking “Here we go again.” But strangely, and happily, Turi soon begins feeding us clues as to what’s really going on, and it isn’t what you think.

The production design here is impressive and the film suitably claustrophobic. Lisa is forced to crawl through most of the maze, often barely able to fit through the tight spaces. Turi gives us a sense of that closed in space without being defined by it; you feel Lisa’s pain and fear and frustration largely because Weiss gives us a strong performance as the heroine. She is deeply wounded, missing her little girl and wanting nothing more than to be reunited with her again. And that possibility does come up, in maybe one of the more emotional moments you’ll ever see in a horror film.

The movie doesn’t always sustain the level of tension that it needs to, and there is a bit of sameness to some of the traps, but overall this is an impressive and imaginative film that genre fans might find intriguing.

REASONS TO SEE: Nifty production design. A claustrophobic thriller.
REASONS TO AVOID: At times seems to be pointlessly cruel.
FAMILY VALUES: There is profanity, violence, gore, some disturbing images and scenes of terror.
TRIVIAL PURSUIT: The walls all display the dots and dashes of Morse code and each wall says something in French; for example, the first room code spells Vite, which means “quickly.”
BEYOND THE THEATERS: Amazon, AppleTV, DirecTV, Fandango Now, Google Play, Microsoft, Redbox, Vudu, YouTube
CRITICAL MASS: As of 7/31/21: Rotten Tomatoes: 70% positive reviews; Metacritic: 63/100.
COMPARISON SHOPPING: The Cube
FINAL RATING: 7.5/10
NEXT:
Enemies of the State (2021)

Joe Bell


Some roads are harder than others.

(2021) Biographical Drama (Roadside Attractions) Mark Wahlberg, Reid Miller, Connie Britton, Maxwell Jenkins, Gary Sinese, Morgan Lily, Blaine Maye, Igby Rigney, Coral Chambers, Scout Smith, David H. Stevens, Blake Barlow, Charles Halford, Jayne Luke, Juan Antonio, Kenadee Clark, Ash Santos, Cassie Beck, Christina Thurmond, Raquel Horton, Jason Cozmo, Christina Torriente. Directed by Reinaldo Marcus Green

 

Humans tend to fear the different, and that is particularly true of white straight males, or at least, so it seems sometimes. In a conservative town like La Grange, Oregon, a town that prides itself on “American values,” bullying young gay teens seems to have been accepted as adhering to those values.

Joe Bell (Wahlberg) is embarking on a quest; he is walking from La Grange to New York City to put a spotlight on bullying. His son Jadin (Miller) was viciously bullied after coming out, with people leaving messages on his social media profile urging him to off himself. Nevertheless, Jadin became the only male on the cheerleading squad and seemed to be almost defiantly queer, but all was not well. His dad supported him only superficially, so long as his son didn’t embarrass him. Possessed of a hair-trigger temper, Joe often grew enraged over petty things, and at every opportunity he had to show support for his son, he turned away.

But when Jadin takes his own life, Joe is driven by grief (and perhaps guilt) to make his quest, talking up his message to whoever will listen, or at least that’s what he sets out to do. The brutal truth is that Joe isn’t much of a public speaker and when ordering food in a diner, he overhears some other men making ugly homophobic remarks. Instead of confronting them, he hands them a card and leaves, which Jadin rightfully chides him for. You see, even though Jadin is gone, his spirit is walking alongside Joe every step of the way, alternately cheering him on and questioning his methods and motives.

There are no heroes in this movie except for maybe Jadin, and often Jadin is made out to be a stereotype, a martyr of teen bullying. Joe is self-centered, truly a product of a conservative rural town in which men are in charge, women are there for support and those who don’t fit in are to be humiliated, shunned and driven away. Joe acts the way he does because he doesn’t know any better, and in that sense he is a tragic figure; tragic because he doesn’t see that his lack of support, his refusal to stand beside his son instead of sweeping him under the carpet as much as possible has left Jadin feeling alone and with nowhere to turn, which we see in a powerful scene that announces that Miller is a talent to be reckoned with.

As far as Wahlberg goes, this is not a movie that relies on his natural charisma and easy-going charm. Joe is rough around the edges and often says or does the wrong thing. He alienates his long-suffering wife Lola (Britton) and his other son Joseph (Jenkins) at a time when both are hurting, but Joe only sees his own grief. There’s a scene early on where he is addressing a noisy high school assembly about bullying and it’s almost painful to watch as Joe literally fumbles his way through, saying nothing of any depth and concludes with a lame “Any questions?” when he has given them nothing to analyze. It’s brilliant in the sense that you wouldn’t expect a blue collar dad from rural Oregon to suddenly turn into a brilliant orator. Grief isn’t always enough.

The writing, from the Oscar winning duo of Diana Ossana and the late Larry McMurtry who previously collaborated on the far superior Brokeback Mountain, is solid throughout, although to be honest it’s kind of hard to make something interesting of a movie that’s essentially about a guy walking down the side of the road. At times, the movie seems a bit maudlin, and it does feel like a movie that was meant for woke audiences rather than those who really need to see it  I must say, however, that it was nice to see Gary Sinese on the big screen, although his role shows up late in the film as a sympathetic sheriff.

This is another movie whose heart is in the right place but could have used a bit of sprucing up to make it truly marvelous, but we’ll have to make do with memorable performances by Wahlberg and Miller which isn’t really a bad thing.

REASONS TO SEE: Heartfelt messaging. Wahlberg is solid in unfamiliar territory, and Miller is a breakout star.
REASONS TO AVOID: Preaches to the choir somewhat and maudlin in places.
FAMILY VALUES: There is some profanity including offensive slurs and disturbing thematic material.
TRIVIAL PURSUIT: Although Jadin is depicted to have died immediately in his suicide attempt, in reality he was still alive when he was discovered and hung on for 15 more days before being taken off life support and passing away.
CRITICAL MASS: As of 7/25/2021: Rotten Tomatoes: 37% positive reviews; Metacritic: 54/100.
COMPARISON SHOPPING: The Laramie Project
FINAL RATING: 7/10
NEXT:
Till Death

Sweet River


There are few things more beautiful than a mother smiling at her child.

(2020) Horror (Gravitas) Lisa Kay, Martin Sacks, Genevieve Lemon, Rob Carlton, Eddie Baroo, Chris Haywood, Charlotte Stent, Jordan Shields, Cymone Rose (voice), Bryan Probets, Jack Ellis, Jeremy Waters, Sam Parsonson, James McGregor (voice), Jayden McGinlay, Ario De Beer, Kate Dodd, Kelly Joyce, Hamish Cleary, Kerry Blakeman, Ashley McLeod. Directed by Justin McMillan

 

In the face of unthinkable tragedy, we have a tendency to pull ourselves into a protective shell, admitting only those we trust absolutely. When that tragedy is accompanied by unimaginable horror, that shell often leaves us unable to escape.

The town of Billins in the sugar cane country of Tweed Valley has had more than their share of tragedy. A school bus crash into the Tweed River resulted in the drowning of a good portion of the town’s children. Some of those that remained as well as a few visitors fell victim to a serial killer (Ellis) who eventually, wracked by guilt, hung himself.

Hanna (Kay) comes to Billins after all these events have occurred, renting a worker’s cottage on the edge of the cane fields. Unbeknownst to her, James Lipton – the man (Waters) who rented her the cottage – has met with an untimely end but his neighbor John Drake (Sacks) honors their rental agreement, although his wife Eleanor (Lemon) is less neighborly. It’s hard to blame her – the couple are mourning the death of their daughter Violet (Stent) – more on that later.

Hanna can relate, because she is in mourning as well – her son Joey disappeared, a presumed victim of the serial killer although his body was never recovered. In fact, Hanna believes Joey’s body is somewhere in the cane fields and while the local constable (Carlton) tries to persuade her to leave, she is adamant; she’s not going anywhere until Joey’s remains are found and properly laid to rest.

But something else is going on in the town. The children may be dead but they are surely not gone; many of the townspeople can see them and there is some comfort in that. The fact that Lipton had boasted that he was going to harvest the cane field the night he died is not insignificant. The dearly departed may not always be completely gone.

This Aussie film doesn’t lack for ambition, although it doesn’t seem as if director Justin McMillan absolutely knows what he wants his film to be. At times it is a supernatural horror film that is rife with haunted house tropes (things that go bang in the night, half-seen figures of giggling children and so on), while at other times it is a sober look at the effects of grief on a small town a la The Sweet Hereafter, which it appears heavily influenced this film (then again, so did Children of the Corn).

The movie is constructed a bit awkwardly, with a ton of sub-threads and flashbacks that make it a confusing watch at times. That’s a shame, because a lot of the elements here work from Kay’s heartfelt performance to the slow build-up of tension to some of the more horrific elements. At the end of the day, McMillan tries to make this more intricate than it needed to be and his ambitions outstripped the film’s ability to deliver. It’s a bit on the unsatisfying side particularly because there are so many elements that work well, but still worth a look.

REASONS TO SEE: A slow burner of a thriller.
REASONS TO AVOID: Lots of good elements but an unsatisfying whole.
FAMILY VALUES: There is profanity, violence and some terrifying images.
TRIVIAL PURSUIT: The Tweed Valley, where this was filmed, is located in New South Wales, Australia.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 5/11/21: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: In the Tall Grass
FINAL RATING: 6/10
NEXT:
Mandibles

My Fiona


Gemma can smile, but it hides the tears.

(2021) Drama (The Art Factory) Jeanette Maus, Corbin Reid, Sara Amini, Elohim Nycalove, Travis Coles, John Ennis, Ryan W. Garcia, Camille Guaty, April Lang, Thomas A. Keith, Jess Riley, Courtney Hawkins, Sterling Sulieman, Elle Vernee, Ursula Taherian, Boston Beck, Naiia Ulrich, Rachel Zink. Directed by Kelly Walker

 

When someone dies, they leave an ineffable hole in the lives of those around them. Sometimes that hole becomes so overwhelmingly large, its gravitational pull threatens to suck us in completely.

When Fiona (Amini) excuses herself from the desk she shares with her start-up company’s co-founder (and sole other employee) Jane (Maus) with a cherrful “I’ll be right back,” there’s no sense that anything profound is about to happen, but it does. Moments later, Jane is screaming in horror as her best friend lies dying on the ground in front of the building, having hurled herself off the roof.

At the funeral, Jane is numb but there is rage simmering under the exterior. She goes back to the office, searching for a clue as to why her friend did what she did. She connects with Fiona’s wife, Gemma (Reid), offering to babysit their son Bailey (Nycalove) so that Gemma can get back to work. And slowly (but surely), Jane begins to become more a part of their lives, while her own sexuality – she had been straight – begins to come into question as she begins to develop feelings for Gemma. After all, the two women have something important in common – Fiona’s ghost, still looming in their lives as surely as if they’d erected a statue in her honor.

Walker’s first feature film is a self-assured affair that rarely makes missteps. Sure, there are some scenes that feel maudlin and the ending’s emotional payoff doesn’t quite feel earned, and maybe there are a few too many indie film tropes (sad indie music over a montage here, tonal shifts sharp enough to scratch diamonds and so forth) but overall, you have to admire Walker’s choices. She opts for real emotions and real reactions over manufactured ones in most cases and sometimes the rawness hits you in the face pretty sharply.

It helps that she’s assembled a crackerjack cast to realize her vision. Maus, an acting coach and veteran actress best-known for Your Sister’s Sister and Charm City Kings, has magma simmering under a cool exterior. She seems okay, but Jane is SO not okay. From time to time she explodes with powerful and often unexpected ferocity (as she does at the funeral), but there is unexpected tenderness, as in the way she deals with Bailey’s tantrums. Her chemistry with Reid is undeniable and speaking of Reid, Gemma’s grief is mainly less explosive than Jane’s but no less deeply felt. Reid carries Gemma with quiet dignity and increasing frustration as she sees this intrusion on her grief as welcome at first, confusing later and upsetting after that.

Even more impressive than the two women is Nycalove. Bailey is naturally devastated by the death of his mother, and his acting out is completely understandable, albeit uncomfortable to watch at times. It can’t have been an easy task for the young actor, nor for the director in coaxing out a show of emotion like this from a juvenile, but both Walker and Nycalove were up to the task. Kudos to both of them.

Cinematographer Laura Jansen does some impressive work, both with a swooping spiral shot that circles around the tops of actors before coming to rest, to keeping tight close-ups on the tightly-wound Jane’s face, to some beautiful images throughout the film. My Fiona is not always an easy film to watch and while the short runtime isn’t going to dissuade anyone from watching – in fact, I might have added a few more scenes to develop Fiona’s personality a little more – it does, in fact, bear watching.

REASONS TO SEE: Nycalove gives a realistic portrait of a child grieving and acting out.
REASONS TO AVOID: Occasionally maudlin.
FAMILY VALUES: There are adult themes, profanity and some sexuality.
TRIVIAL PURSUIT: Maus passed away on January 24, 2021 of colon cancer at age 39.
BEYOND THE THEATER: Virtual Cinema (through May 2)
CRITICAL MASS: As of 5/1/21: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: Pieces of a Woman
FINAL RATING: 6.5/10
NEXT:
Lady Buds

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