The Samuel Project


here’s still a little bit of Barney Miller in Hal linden.

(2018) Family Drama (In8 Releasing) Hal Linden, Ryan Ochoa, Michael B. Silver, Mateo Arias, Ken Davitian, Phillippe Bowgen, Catherine Siggins, Pia Thrasher, Callie Gilbert, Malina Moye, Lilinda Camaisa, Robert Ochoa, Casey Nicholas Price, Anahid Avanesian, Ken Venzke, Lauro Rocha, Filippo Duelk, Patee Spurlock, Liza Lapira. Directed by Marc Fusco

Back in my day, they called it the “generation gap” – the increasingly difficulty between older generations and younger generations to communicate with each other and understand one another. These days that gap appears to be wider than ever with folks from my generation having a hard time with Millennials and Post-Millennials. I can only imagine that to my parent’s generation Millennials might as well be from Mars.

Eli (Ryan Ochoa) is a teen who is nearing graduation from his suburban San Diego high school. His passion is not girls nor sports but art. He loves to draw, particularly fantasy scenes not unlike heavy metal album covers. He wants to go to art school to his father’s (Silver) chagrin; basically art school is completely out of reach financially. In any case, there’s no money in it; Eli would be better served going to a community college, taking some business courses and with his Associate Degree in hand get himself some paper-pushing job that pays real money.

Eli is also tasked with visiting his grandfather who is essentially estranged from his son, Eli’s father. Grandpa Samuel (Linden) owns a neighborhood dry cleaning business and is more or less content with his life. He is friendly and outgoing but only with his customers; with his own family he tends to be close-mouthed about his past.

When his close friend Uma (Thrasher) arrives in town, very ill, he is thrilled to go see her and takes Eli along because he needs someone to drive him. Shortly after the visit, word reaches Samuel that Uma has passed away. When Eli asks about Uma, Samuel becomes very terse and refuses to talk about her.

At about that time Eli’s media teacher (Bowgen) assigns the class a project to do a multi-media presentation based on something in history that affects them directly. Eli realizes that his grandfather’s story would be perfect. The pot is sweetened that the best entries would be presented at a local competition where they would be seen by those in the business and in education. Eli’s future is suddenly riding on this project, but can he get his reluctant grandfather to talk?

This has a very family-friendly vibe and is meant to be something of a parable about the inability of various generations to connect and see each other as individuals. That’s not a message that has gone unsent by Hollywood films previously, but this one shows a good deal of charm in sending it.

The chief reason why that is so is the presence of Hal Linden. Best known for the cop sitcom Barney Miller, Linden has always been a gifted actor with seven Primetime Emmy nominations and Four Golden Globe nominations to prove it. He shows here that he still has it at 87 years of age; there is that eye twinkle that made Barney such a revered character. Linden’s charm and his ability to communicate so much with small gestures makes this performance well worth seeing for those of my generation and those who just like seeing a master at work.

His chemistry with Disney Kid Ochoa is rocky in places but it’s still there. Ochoa does better with Linden than he does with Arias who plays Kasim, Eli’s metalhead friend from school. Unfortunately, Kasim’s role is completely superfluous and his monosyllabic dialogue does nothing for the movie. The film would have been better off concentrating more on Eli’s relationship with Samuel – or perhaps with a prospective girlfriend, although the filmmakers didn’t choose to go that way.

The ending is definitely a heartstring-tugger even though you can see it coming a mile away. In fact the story is fairly rote throughout with plenty of family film clichés to spare but the cast is charming enough that one can overlook it – although not enough to prevent me from giving it only a mild recommendation. While it’s worth seeing because of Linden, the story around which Linden is given to perform isn’t sadly on par with his talents.

REASONS TO GO: Hal Linden is still a very good actor who has decent chemistry with Ochoa.
REASONS TO STAY: The movie is a fairly rote generation gap-type of film.
FAMILY VALUES: There is some teen smoking and a few adult themes about the brutality of the Holocaust.
TRIVIAL PURSUIT: The 87-year-old Linden recently won the lifetime achievement award at the Heartland Film Festival where this film was shown.
CRITICAL MASS: As of 10/14/18: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Akeelah and the Bee
FINAL RATING: 6/10
NEXT:
Free Solo

Advertisements

The Vanishing of Sidney Hall (Sidney Hall)


The Hollywood version of a writer hard at work.

(2017) Drama (A24) Logan Lerman, Elle Fanning, Michelle Monaghan, Kyle Chandler, Janina Gavankar, Margaret Qualley, Nathan Lane, Blake Jenner, Yahya Abdul-Mateen II, Tim Blake Nelson, Michael Drayer, Christine Brucato, Alex Karpovsky, Darren Pettie, David Alan Basche, John Trejo, Danny Cullen, Richard Beal, Ryan Willard, Cris Williams, Stephanie Purpuri. Directed by Shawn Christensen

 

From time to time, people who are at the top of their field, wrapped in success and fame, who simply walk away. It’s an irresistible story for the rest of us who wonder why those folks give up what the rest of us dream of. It is a sign of the prurient side of ourselves.

Sidney Hall (Lerman) is a gifted writer. Ask him; he’ll tell you so. We meet him in a high school writing class in which he has been tasked with writing an essay on the meaning of life. What he delivers is a treatise on his willingness to masturbate over a popular cheerleader and his feeling that he’s wasting his efforts on it. Needless to say, this doesn’t impress the tightly wound English teacher much.

Duane (Abdul-Mateen) knows that Sidney is just breaking the balls of the teacher who doesn’t understand him. He acts as kind of a mentor (and later a literary agent) to Sidney, delivering him to a prestigious publishing house and it’s acerbic editor (Lane). Sidney’s first novel, about the suicide of a high school student, becomes not only a bestseller but a cultural phenomenon and makes him wealthy and a bit of a rock star.

But Sidney’s personal life is a shambles. He left home, getting away from his shrill and controlling mother (Monaghan) and with his high school sweetheart Melody (Fanning) who later becomes his wife. But success breeds some not so pleasant side effects and Sidney’s marriage is crumbling as he becomes more and more self-absorbed. After losing the Pulitzer to another writer and devastated at the end of his marriage, Sidney abruptly disappears from public view.

A series of arsons in bookstores and libraries in which Sidney’s books alone are targeted for burning puts a detective (Chandler) on the trail of Sidney, who has at this point become something of a hobo, riding the rails with his dog Homer. But what motivated Sidney to walk away from everything? What is inside the mysterious box he dug up with his jock friend Brett Newport (Jenner)? Who is the mysterious detective chasing him and why is he so keen to find him? There are ghosts haunting Sidney Hall and perhaps that is why he wants to become one himself.

Director Shawn Christensen has enormous talent; it was clearly on display in his last movie Before I Disappear and there are moments where you can see it in this film. Unfortunately, this is much more of a mess than his last movie was. Christensen has three separate timelines interweaving with one another; Sidney’s last weeks in high school as his relationship with Melody begins and his relationship with Brett is explained. There’s also the apex of his career as a successful writer in his 20s in which his nascent ego has reached full flower, alienating him from just about everyone including his wife. Finally we see him as a lonely and just about psychotic wanderer, cloaked in self-loathing and with only a dog for company.

There are a lot of revelations in the film and to be honest some of them work, others are more on the ludicrous side. Lerman is a fine actor but he’s unconvincing here particularly in some crucial scenes which quite frankly undermines the whole she-bang. He also has almost no chemistry with Fanning whose character is so massively cliché that we’re banging our heads against the wall in frustration.

There are a lot of clichés on display here; the writer in his study, a glass of whiskey beside him, cigarette smoke curling up from his keyboard as he ponders the weight of his next few words. There is in fact a great deal of pretentiousness here, from the condescending dialogue to the portrait of the writer as a young snot. Although we find out near the end of the film that Sidney has suffered greatly at the hands of life, by that time it’s really too late to rescue the character from being someone we can’t stand to be around for very long – and we’re forced to hang out with him for nearly two hours.

Yes, the movie is much too long and feels padded out with gratuitous misery. We get it, Sidney’s life sucks and success isn’t all it’s cut out to be yadda yadda yadda. It doesn’t help that the leaping back and forth from timeline to timeline is done with leaden hands, leaving the audience frustrated yet again.

The sad thing is that there really is a good film somewhere in here. The cast is strong top to bottom and the performances are for the most part compelling; Nathan Lane brings some well-needed levity to the movie and Blake Jenner is surprisingly strong in his role as well. This just feels like a director trying to spread his wings but for whatever reason he plummets from his perch to make a great big ker-splat on the ground. I’m hoping this is just a misstep for Christensen and that we can still expect better things from him in the future. This isn’t going to be one of the highlights on his resume though.

The film is just hitting theaters after a month-long run on DirecTV. It is also still available there for subscribers to that satellite service. Expect it on a larger array of streaming services in the near future if you’re of a mind to see it.

REASONS TO GO: Nathan Lane is always a hoot. There are some really nice cinematic moments. The cast does pretty well in general.
REASONS TO STAY: The storytelling is disjointed and frustrating. The movie goes on way too long. The dialogue and plot are way too pretentious.
FAMILY VALUES: There is plenty of profanity including some sexual references.
TRIVIAL PURSUIT: Lerman plays Sidney as a high school student, in his 20s and lastly in his 30s; Lerman is actually 25 years old.
BEYOND THE THEATER: Vudu
CRITICAL MASS: As of 3/3/17: Rotten Tomatoes: 10% positive reviews. Metacritic: 18/100.
COMPARISON SHOPPING: Listen Up, Philip
FINAL RATING: 5/10
NEXT:
Submission

Wish Upon (2017)


Love at first sight.

(2017) Horror (Broad Green) Joey King, Ryan Phillippe, Ki Hong Lee, Mitchell Slaggert, Shannon Purser, Sydney Park, Elisabeth Röhm, Josephine Langford, Alexander Nunez, Daniela Barbosa, Kevin Hanchard, Sherilyn Fenn, Raegan Revord, Alice Lee, Victor Sutton, Albert Chung, Michelle Alexander, Natalie Prinzen-Klages, Nora Prinzen-Klages. Directed by John R. Leonetti

Who hasn’t ever dreamed of having an Aladdin’s lamp, granting us wishes that would make our lives better? Most of us have those dreams without remembering that these stories generally have things turn out much worse for the heroes than they anticipated.

Claire Shannon (King) has had a rougher life than most. As a young girl (Revord) she witnessed her mother (Röhm) hang herself in the attic. The event so traumatized her that she never rode her little pink bike again, leaving it where she left it that horrible day to rust in the weeds. Her father (Phillippe) has a bit of a screw loose; he’s a dumpster diver and a hoarder. At school, Claire is an outsider bullied by Darcie Chapman (Langford) and the other popular kids. She hangs around fellow outsiders June (Purser) and Meredith (Park).

One day her father finds an old Chinese music box in the trash near some sort of Chinese temple and decides to make a gift of it to his daughter. At first it seems harmless enough but that day had been particularly horrible for Claire in regards to the bullying and she exclaims impulsively “I wish Darcie Chapman would just rot!” Not an unheard of sentiment for a high school teen but in this case Darcie develops a severe case of necrotizing fasciitis, meaning she is literally rotting. On the negative side, Claire’s beloved dog is attacked and eaten by feral rats.

After a couple of other wishes come true, Claire puts two and two together and realizes the music box is somehow granting her wishes. It takes her a little bit longer to add the third “two” and realize that for each wish granted, someone close to her dies and for the most part in an inventively gruesome way. She enlists her token Chinese friend Ryan (K.H. Lee) and his cousin Gina (A. Lee) to help translate the characters on the music box and what they discover is unsettling. It seems that Claire only gets seven wishes and once she uses them all, the diabolical music box will claim her soul. The terrifying thing is that she’s already used up five wishes and the now not-quite-right in the head Claire seems perfectly willing to use her other two up…

A lot of different movies have utilized the MacGuffin of a wish-granting device with varying degrees of success. Most of them are influenced to varying degrees by the short story “The Monkey’s Paw” which really is the standard setter for the perils of granting wishes. Most of us have seen at least a few of them, enough to know that wishes rarely turn out the way we expect them to. That’s at least the life lesson that the original author wished to impart.

Whoever wrote this movie probably should have taken that to heart. There are some interesting elements here, like the rather convoluted (in a good way) death scenes which brings an overall Final Destination vibe which is, in my opinion, a good thing since I have always found those movies clever in a morbid kind of way. In other words, my kind of movie.

King is at least age-appropriate for the casting (she was 16 years old during filming) but is hung out to dry by the writing, which really makes her character hard to relate to. I do get that the music box is somehow influencing Claire to use its powers but that isn’t made as clear as it could be other than her Gollum-like “Mine! MINE!” sequence when Ryan tries to convince her not to use the box again. King seems to have a good deal of talent but her character is just so selfish and unlikable that even by the film’s end as a viewer I really found myself taken out of the film, thinking “well she deserved what she got.”

The death scenes and the music box itself are pretty nifty, I admit and are the film’s saving graces. They are plenty clever and the music box, which becomes more shiny and new with each use (another little detail I admired) plays some pretty eerie music and the movement of the device is well-done so kudos to whoever constructed the music box itself.

The rest of the supporting cast is essentially pretty meh, although Phillippe as usual is the consummate professional, giving an effort to go above and beyond playing a role that frankly is a bit different than we are used to seeing from him. His performance here reminds me that we don’t see him in important roles as much as we should.

I would say that overall the movie is pretty much just average. It’s neither bad nor good which isn’t going to win it a lot of people seeking it out when it becomes more generally available. I know I’m damning the film with faint praise but I really can’t do otherwise. It’s definitely another case of a good concept squandered by a derivative plot and weak character development.

REASONS TO GO: The wish box sequences are pretty nifty. Phillippe is actually pretty decent in an unusual role for him.
REASONS TO STAY: The plot is extremely derivative. King doesn’t distinguish herself in the lead role.
FAMILY VALUES: There is some violence and disturbing images, adult thematic elements and profanity.
TRIVIAL PURSUIT: The movie borrows elements from the W.W. Jacobs short story “The Monkey’s Paw.”
BEYOND THE THEATERS: Amazon, Google Play, iTunes, YouTube
CRITICAL MASS: As of 10/28/17: Rotten Tomatoes: 17% positive reviews. Metacritic: 32/100.
COMPARISON SHOPPING: Wishmaster
FINAL RATING: 5/10
NEXT:
More Six Days of Darkness

Phoenix Forgotten


A billboard you don’t want to see your image on.

(2017) Horror Sci-Fi (Cinelou) Chelsea Lopez, Luke Spencer Roberts, Justin Matthews, Florence Hartigan, Clint Jordan, Cyd Strittmatter, Jeanine Jackson, Matt Biedel, Ana Dela Cruz, Mackenzie Firgens, Jay Pirouznia, Marc Marron, Don Boyd, Tony Duncan, Richard Cansino, Hector Luis Bustamante, Joseph J. LaRocca, Larry Toffler, Cynthia Quiles. Directed by Justin Barber

 

Some may remember the notorious Phoenix Lights that on March 13, 1997 were witnessed by thousands of Phoenicians. Some in the UFO community consider it one of the most important sightings in history; others pass it off as military planes in formation dropping flares. Either way, it is still something of a mystery.

Three teens – Josh Bishop (Roberts), his crush Ashley Foster (Lopez) and their mutual friend Mark Abrams (Matthews) decide to head towards a remote area of the Arizona mountains to investigate the lights a week later. Their car was found abandoned by the side of the road but the three young people were never seen again.

Twenty years later Sophie (Hartigan), the younger sister of Josh, comes back to Phoenix to help her mom (Strittmatter) move. She comes across some of the videotapes her camera-obsessed brother took, including those of the lights themselves and decides to make a documentary of her brother’s disappearance. She interviews as many subjects as she can including her dad (Jordan) and other interested parties. At length she discovers a badly damaged camcorder found in the desert with the tape in it amazingly intact – which may solve once and for all the mystery behind the disappearance of the three teens.

The movie is in reality two separate movies; the story of the three teens told through their own videos, and Sophie’s investigation, which is a more standard storytelling method. The more interesting of the two is surprisingly the found footage. Barber has recreated it well, making it look like it was recorded on a camcorder circa 1997 complete with wavy lines, static and shaky cam. It looks real authentic as does the environment depicted; kudos to Barber for that.

The three “teen” leads are all as they tend to be in low budget horror movies attractive and do at least an adequate job of performing. Lopez in particular seems to have some screen presence and might well be on her way to a bright future in the business.

The thing here is that it borrows a little bit too much from The Blair Witch Project, even one of the character’s names is present. The plot is just about identical, adding elements from last year’s Blair Witch to sweeten the pot, substituting the Arizona desert for the Maryland woods. Imitation is of course flattery and in all honesty Phoenix Forgotten does imitate well, but if you’re looking for something more, you might end up disappointed.

Speaking of disappointing, the special effects are pretty poor for a film of this caliber – although they do get the aging of the found footage right. Mostly the effects consist of colored lights, wind machines and wires and it would have looked primitive back in 1997. In 2017, well, it’s simply not good enough. With maybe a little bit larger budget they could have done a more realistic job.

Still, the movie delivers where it needs to. I’m pretty sure I’m alone in this assessment; the movie disappeared without a trace (much like its protagonists) at the box office and the critical reception was less than enthusiastic. I liked it though; there was plenty that worked that I can recommend it to horror fans and to thriller fans alike. Sci-fi fans might have issues with the subpar special effects. Phoenix Forgotten is likely to be forgotten judging on the overall lack of interest in it (there are only six reviews up on Metacritic; most major releases have anywhere from 20-45) but it doesn’t deserve to be.

REASONS TO GO: The found footage is cleverly utilized, making it more palatable. I got a bit of high school nostalgia watching this.
REASONS TO STAY: The special effects are nothing to write home about.
FAMILY VALUES: There are scenes of peril and terror as well as a bit of profanity.
TRIVIAL PURSUIT: The footage of the Phoenix Lights was digitally simulated and then saved onto VHS tape. It was then converted back to digital. The analog effects are a result of this process and help to integrate the CGI into the era-proper technology.
CRITICAL MASS: As of 6/12/17: Rotten Tomatoes: 40% positive reviews. Metacritic: 33/100.
COMPARISON SHOPPING: The Blair Witch Project
FINAL RATING:7/10
NEXT: The Discovery

Deidra and Laney Rob a Train


Deidra and Laney are on top of the train situation.

(2017) Young Adult Comedy (Netflix) Ashleigh Murray, Rachel Crow, Tim Blake Nelson, Missi Pyle, Sharon Laurence, David Sullivan, Danielle Nicolet, Myko Olivier, Sasheer Zamata, Arturo Castro, Kinna McInroe, Brooke Markham, Cj Strong, Deborah Lee Douglas, Tua Kealoha, Lance Gray, Chad Wright, Gerry Garcia, Nick Moceri, Kami Christiansen, Monica Moore Smith. Directed by Sydney Freeland

 

When you’re a single parent, making ends meet can be no easy task, especially if your employment options are limited and your ex isn’t paying the child support they owe. It’s a difficult situation, one which can go from precarious to catastrophic in a single moment.

Deidra (Murray) is the class valedictorian in a small Idaho town where she is the oldest of three children, including her middle sister Laney (Crow) and her youngest brother Jet (Gray) who likes to play with action figures. They live on the wrong side of the tracks (literally; the train tracks border their back yard) with their mom Marigold (Nicolet) who works at a Best Buy-type electronics store.

One afternoon she unexpectedly loses it at work and goes on a rampage, smashing a big screen TV to pieces. Her erstwhile employer not only presses charges, they insist on making her out to be a domestic terrorist, raising her bail to unaffordable heights. There are bills to pay and Deidra realizes that not only can they not afford to keep food on the table or the electricity turned on, a social welfare worker (McInroe) is threatening to move Jet into a foster home if they can’t demonstrate that the environment is suitable.

In desperation, Deidra visits her ex-con dad Chet (Sullivan) who works as a technician for the railroad. He only has $13 to give them but he gives Deidra something much more valuable; an idea for a way out. He offhandedly mentions that there have been a spate of train robberies lately that have gone unsolved and the railroad brass has sent a security specialist named Truman (Nelson) to investigate. Vaping incessantly, he also has a checkered past in which he’d been drummed out of law enforcement for excessive use of force. He is clearly not a man to be trifled with.

Nonetheless Deidra figures out that she can hop aboard a freight car, break the lock and take whatever she can find in them. She knows she can’t do this alone so she enlists her sister Laney – who is embroiled in the Miss Teen Idaho pageant which she had only entered to support her “friend” Claire (Markham) who immediately turned her back on Laney when Laney was also selected as a finalist . Laney is at first reluctant but when things start to get desperate she agrees to help.

Deidra also enlists her ex-boyfriend Jerry (Olivier), who she dumped for selling pot, to sell the stolen merchandise on E-Bay. She’s set a goal of $12,000 which would be sufficient to catch them up on their bills and get their mom out on bail. She’s also pressured by the guidance counselor Ms. Spencer (Zamata) who believes that if she can get just one student out of town on a scholarship she’ll get promoted and Deidra is her best shot at it. With all this going on, the social worker and the railroad dick both sniffing around their lives and her dad trying to make up years of neglect to his kids, can this high school senior and her sister pull off the larceny they need to get their family whole again?

Those who have paid attention to my reviews over the years should by now realize that I’m not a big fan of the programming on the Freeform cable network. This movie positively reeks of the things that really make me frown about the cable network’s offerings. The script is absolutely ludicrous; for one thing, can you imagine a mother, particularly one who realizes she is the sole support for her kids, melting down like that and then treating her jail time as a vacation? None but the most irresponsible of parents would react that way and even then if they were of that nature they likely would have had their kids taken away from them long before. For some reason (and this goes back a long ways before Freeform was a gleam in Disney’s eye) kids movie/TV show writers delight in making adults be absolutely incompetent so that they can show how kids can solve their own problems.

Of course, normally Freeform and other Disney outlets don’t approve of using crime to solve the problems that their heroes and heroines are grappling with, but these are interesting times. For the working class, these types of conditions are reality and while the mom being hauled off to jail would in reality have ALL the kids taken to foster care, life for the working class particularly in rural towns is bleak and hopeless in a lot of ways – you can see why they chose to vote for the maverick outsider when it seemed like neither political party gave a rat’s behind about their situation. The movie reflects that frustration.

Murray, who also starred in the CW series Riverdale this spring, is a find. She plays Deidra as smart without being condescending and compassionate while being fierce. She avoids the clichés that so many young adult actresses fall into. Sadly, the material she has to work with here isn’t really up to her performance.

While the movie is entertaining for the main part, it’s clearly meant for a young adult audience and will offer little for audiences with a “two” or more as the first number in their age. I’m of the perhaps misguided belief that you can write terrific material for young adults without talking down to them as this movie does; it creates a world where the right thing to do is the wrong thing to do also. While empowering the girls in the movie, it also empowers them without consequences to their actions, something that really doesn’t happen often in the real world, even for adults. I applaud the filmmakers for making this an inclusive film that looks at the real economic situations faced by working class families everywhere; I just wish they could have presented real solutions and real information that kids who find themselves needing to be empowered can do so without fear of being jailed for it.

REASONS TO GO: Murray avoids young adult actress clichés. There is a decent entertainment value here.
REASONS TO STAY: The movie has a Freeform/Afterschool Special vibe (not necessarily a good thing). The ludicrous plot is clearly meant for youngsters, not adults.
FAMILY VALUES: There is some mild profanity and some just as mild violence.
TRIVIAL PURSUIT: The high school scenes were filmed at Judge Memorial Catholic High School in Salt Lake City, Utah.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 6/6/17: Rotten Tomatoes: 93% positive reviews. Metacritic: 65/100.
COMPARISON SHOPPING: Hell or High Water
FINAL RATING: 5/10
NEXT: Meghan Leavey

Power Rangers


Welcome to your childhood, revisited.

(2017) Science Fiction (Saban/Lionsgate) Dacre Montgomery, Naomi Scott, RJ Cyler, Ludi Lin, Becky G, Elizabeth Banks, Bryan Cranston, Bill Hader (voice), Matt Shively, Cody Kearsley, David Denman, Robert Moloney, Anjali Jay, Sarah Grey, Morgan Taylor Campbell, Caroline Cave, Kayden Magnuson, Lisa Berry, Wesley MacInnes, John Stewart, Fiona Fu. Directed by Dean Israelite

 

Never underestimate the value of nostalgia in selling a franchise movie. The toys and games of our youth become the $100 million franchise film of our present. Michael Bay turned a TV show meant to sell toys into a billion dollar film franchise which shows no sign of abating.

The Mighty Morphin Power Rangers were arguably a bigger kid’s show in their day. Certainly it paved the way for all sorts of shows that were arguably toy ads and included such shows as Pokémon and Animorphs.  There were a couple of movies made with the Rangers (the first one I was forced to endure since my son was a MMPR junkie at the time) but while the show has continued in a variety of forms over the years, it hasn’t quite had the same cache as it did back in the day. Now Saban, the American distributor of the original, has started a film arm and is pulling out what is arguably their most valuable property to help get it going.

Five misfit teenagers in the sleepy California town of Angel Grove have been drawn together. Jock Jason (Montgomery) has a bright athletic future ahead of him but throws it all away for the sake of an unfunny prank that ends up getting him arrested. Kimberly (Scott) is a cheerleader whose clique has turned against her. Billy (Cyler) is a brilliant but bullied young man who is on the autism spectrum. Jason, who hates bullies, stands up for Billy but not because he is bullied – Billy is able to disarm the ankle bracelet he’s forced to wear.

Billy takes his two new friends to an old mine his late father used to take him to. There they meet Zack (Lin), an outgoing Asian kid and Trini (G), a Latina loner. The five of them discover that they picked a mine that happened to be above a buried alien spacecraft where they discover five coins. The coins give them a variety of super powers but nothing like what they would have if they could manifest the Power Ranger suits.

At least, that’s what giant head Zordon (Cranston) tells them. With his snarky robot sidekick Alpha 5 (Hader), the five are meant to be the new Power Rangers who have to battle interstellar baddie Rita Repulsa (Banks) who has plans to nab the Zeo Crystal and destroy the planet – unless the bickering teens can get their act together and team up to beat her and her giant robot Goldar. We’re doomed.

It’s hard in some ways for someone like me to review this; I really didn’t follow the show and while my son was way into it for a certain part of his youth, it was his show, not mine. We didn’t watch it together but that was okay – it was something that could be his and his alone, which is important for a young boy. The connection I have to the show is tenuous and the Easter eggs and cameos that litter the film go straight over my head. Younger people who grew up with the show in the 90s will find more resonance here than I ever could so keep that in mind.

The special effects are fairly spectacular for the most part – the climactic battle is a little bit overwrought and difficult to follow. It takes a long time to get there however; the Rangers don’t appear in uniform until the movie is nearly done and the dinosaur-like vehicles they operate, the Zords don’t appear until even later.

The movie is chock full of terms and expressions that will only make sense to those who grew up with the show.  That’s okay, mind you, but just be warned that those of us who weren’t into the show will have less of an experience. The same thing can be said about the Marvel movies, Star Trek movies and so on and so forth. That’s kind of the point of going to see a movie like this.

The movie is a bit schizophrenic in that part of it seems to want to be a slam-bang action movie and the other more of a Freeform teen angst movie. Israelite is more successful at the latter than the former and quite frankly the integration of the two could have been better and I think that’s where the movie has its biggest issue. When the action sequences come, they are a bit on the cheesy side and don’t look terribly convincing. They’re also quite jarring when you put them together with teens who are sexting, experiencing sensuality for the first times in their lives, dealing with autism and bullying and alienation from not only the adults in their lives but from people in general. All the special effects in the world can’t help you with those.

If you loved the original series, chances are that you’ll enjoy this depending on how much a stickler you are for keeping things the way they were in the 90s. Chances are you’ll have seen this already as well. For those wondering if they should catch this at the local dollar theater, do. It should definitely be experienced on a big screen with big sound. However, keep in mind that this is essentially a mediocre movie that could have used less of an eye on the bottom line and more of an eye on writing a great story involving these characters instead of one drowning helplessly in liquid cheese.

REASONS TO GO: There is a nostalgia factor for those who grew up with the original TV show.
REASONS TO STAY: Tries to be both an action movie and a young adult drama and doesn’t really integrate the two disparate sides together very well.
FAMILY VALUES: You’ll find plenty of sci-fi violence, a smattering of mild profanity and a little bit of crude humor.
TRIVIAL PURSUIT: This is the third Power Ranger movie to make the big screen (although as a reboot it isn’t connected to the other two) and the first in 20 years to be released.
CRITICAL MASS: As of 5/27/17: Rotten Tomatoes: 46% positive reviews. Metacritic: 44/100.
COMPARISON SHOPPING: Chronicle
FINAL RATING: 5/10
NEXT: Pandora

Manchester by the Sea


Grief is an emotion best shared.

Grief is an emotion best shared.

(2016) Drama (Roadside Attractions/Amazon) Casey Affleck, Lucas Hedges, Michelle Williams, Kyle Chandler, C.J. Wilson, Josh Hamilton, Tate Donovan, Jami Tennille Mingo, Anna Baryshnikov, Liam McNeill, Gretchen Mol, Kara Hayward, Joe Stapleton, Brian Chamberlain, Christian Mallen, Oscar Wahlberg, Ruibo Qian, Tom Kemp, Chloe Dixon, Matthew Broderick, Quincy Tyler Bernstine. Directed by Kenneth Lonergan

 

Joseph Conrad famously wrote that “that which does not kill us makes us stronger” but like all aphorisms, it isn’t always true. There are some things, some horrible terrible things, that may not necessarily kill us but they destroy us emotionally, mentally and spiritually. They turn us into the living dead, unable to recover, unable to die.

Lee Chandler (Affleck) is someone like that. He works as a handyman/janitor in several apartment buildings in Quincy, Massachusetts, taken for granted and overlooked – and quite happy in that circumstance. He’s good at what he does, but when he gets guff from the tenants he tends to give it right back. He hangs out in bars, ignoring the come-ons of attractive women and then getting into meaningless bar fights, exploding over the slightest provocation.

His routine is disrupted with the news that his big brother Joe (Chandler) has died suddenly. Joe has had heart problems for years so it isn’t completely unexpected but it is still a devastating blow. Both brothers are divorced but Joe does have a son Patrick (Hedges) that lives with him since it turns out that his mom (Mol) is a raging alcoholic. Lee for whatever reason has been unable to forgive her for this. Lee goes back to Manchester-by-the-sea, a North Shore town where he grew up but he has left for good reason.

To Lee’s dismay, it turns out that Joe in his will named Lee as Patrick’s guardian. It also turns out that Joe has left enough money that will assist Lee in paying for things that Patrick will need. Lee has no intention of taking care of Patrick in Manchester – he wants Patrick to finish out the school year and then live with him in Quincy until he goes to college but Patrick balks. His whole life is there in Manchester – two girlfriends and a truly bad garage band – but he doesn’t want to start over, particularly with his Uncle who is taciturn, grim-faced and possessed of an explosive temper that gets him into trouble.

Lee’s ex-wife Randi (Williams) is seeing someone else but seems eager to re-connect with Lee, which Lee seems absolutely against. There are those in town who seem to have some sort of issue with Lee as well; most seem to shy away from him, as if he’s a bomb with a hair trigger. Bit by bit, we discover why Lee has these walls up…but can anything bring them down?

Most Hollywood movies dealing with a broken man (and Lee Chandler is most assuredly broken) who is forced unwillingly to become responsible for a child (although Patrick is 16 years old) usually end up with the broken man being fixed by the experience. Manchester by the Sea is a refreshing change from that trope as Lee is changed, but not fixed. The pain he is in is still there when the movie ends, and it is clear that pain will always be with him – and understandably so. What he has to live with is not something that people can just fix and forget.

Affleck, who in many ways has always been in the shadows of his brother Ben, has emerged with this performance. Oh sure, we always knew he could act – Gone Baby Gone and The Assassination of Jesse James by the Coward Robert Ford and several other examples are proof of that. Here though he is an odds on favorite to win the Best Actor Oscar and is a lock to get at least a nomination. This is the kind of performance that sears the soul of the viewer and stays there; it is a performance one can view again and again and still find something fresh and new about it. It is the step one takes from being a good actor to being a great one, and it is worth celebrating – we can always use great actors and Casey Affleck has become one.

Much of the movie is concerned with grief and how different people experience it. One point that Lonergan makes is that no matter how together someone seems on the surface, eventually that pain must manifest itself in some way or another, either through tears or walls or both. There are several scenes – a late film encounter between Lee and his ex, the moment when Patrick finally breaks down, the aftermath of a tragedy – that are as important as any you’ll see in a movie this year, or any other for that matter.

This is a movie firmly entrenched in working class values. Hollywood has a tendency to either mythologize those values, or condescend towards them. Lonergan does neither; he simply presents them as he sees them and allows the audience to draw their own conclusions. He doesn’t shy away from allowing people to think either; there are a lot of concepts here worthy of post-movie discussion and while it can be a hard movie to sit through, it is rewarding because of that reason. The subject matter is heavy and Lonergan refuses to take short cuts or dumb things down.

I know a lot of people mistrust Hollywood as a bastion of liberal elitism and there’s some justification for that. Those people who feel that way should see this movie. It is a celebration of life in the midst of pain and death. It doesn’t shy away from the realities of life but it doesn’t wallow in them either. It finds the quiet bravery of just getting up in the morning without making a fuss about it. In short, this is one of the best movies of 2016 and one which you should make every effort to see.

REASONS TO GO: A show-stopping performance by Casey Affleck is one of the best of the year. Grief is looked at in an honest and realistic way. The attitude is completely working class in a good way. This film doesn’t dumb itself down for its audience.
REASONS TO STAY: The pacing is a little bit on the slow side.
FAMILY VALUES: There is plenty of foul language, some sexual situations and adult themes.
TRIVIAL PURSUIT: The project was originally intended for Matt Damon to direct and star in, but conflicts with The Martian forced him to withdraw.
CRITICAL MASS: As of 12/29/16: Rotten Tomatoes: 97% positive reviews. Metacritic: 96/100.
COMPARISON SHOPPING: Angels Crest
FINAL RATING: 10/10
NEXT: Vacancy