City of Ghosts (2017)


ISIS: The sunset of decency.

(2017) Documentary (IFC) Aziz, Hamoud, Mohamad, Hassan, Hussam, Naji Jerf, Abu Bakr Al-Baghdadi. Directed by Matthew Heineman

 

Courage comes in all sorts of forms. There are those who go out and put their lives in harm’s way, whether they be soldiers or police officers or firemen; we think of these brave men and women first most of the time when we think of courage. There are other ways of putting one’s life on the line  however; there are those who attempt to tell the world the truth despite danger to life and limb.

Raqqa is a Syrian city on the Euphrates river. Once upon a time it was a beautiful city, idyllic in many ways. Life there was good; it was a great place to raise a family. However during the Arab spring the citizens of Raqqa were unhappy with the regime of dictator Bashar al-Assad and demonstrated against the strongman. He responded by putting the city under fire and the citizens fought back.

It was the perfect storm for ISIS to move in and capture the city. At first, they were welcomed as liberators. After all, they had to be better than what was previously in power, right? As it turned out, things were far from right. ISIS instituted a despotic rule in which citizens were routinely beheaded, thrown from buildings, crucified, shot or otherwise executed for violations of Sharia law, real or perceived. Those in opposition to the rule of ISIS were also given the same treatment.

Various citizens of Raqqa began to fight back in a different way. Knowing that guns and violence would not dislodge the battle-hardened ISIS warriors, they chose to use truth and facts as their weapons. Taking video on cell phones, they uploaded images that contradicted the official ISIS lie that Raqqa had become an Eden with happy citizens and smiling children. It had become a place where starvation was common, even basic medical services non-existent and where citizens live in constant fear of their lives. Their children are being indoctrinated and their wives sexually assaulted.

Three men – Aziz, a former hard-partying college student; Mohamad, a math teacher moved to action when one of his young students was arrested, and Hussam, a former lawyer – became along with camera operator Hamoud the backbone of Raqqa is Being Silently Slaughtered. With Raqqa being virtually cut off from the rest of the world, cell phone video is being smuggled out by these men who have been forced to leave their home city and take refuge in places like Turkey and Germany.

Some of the images here are graphic; people are beheaded, people are shot in the back of the head, people are thrown off of buildings. The aftermath of these grisly demises are also shown. It is most definitely not a film for those sensitive to such things who should probably not see this unless they feel strongly that they can handle those images.

There is also the matter of the soundtrack which at times is distracting from the images that are being shown. It is not good when you notice the score; something subtle should have been used because these images deserve to exercise their full power on the viewer. They don’t need any musical assistance.

What is compelling is the eyes of those living in Raqqa; the pain is clear and obvious. In the men struggling to save their city it is just as obvious; one of the movie’s most memorable moments is of Aziz quietly smoking. As he smokes, he begins to shake violently as if all the horror and stress is catching up with him. It catches up with all of us, too. These are men who have given up everything and most of them have had family members and friends executed in retaliation for their efforts. Nobody can question their commitment or their courage.

This is a powerful movie that is moving and inspiring but also infuriating. Such inhumanity and casual evil makes you want to lash out and somebody, anybody. The caution here is to not to think that all Muslims are ISIS and there are certainly those in our country who will think so. The heroes in this movie are also Muslim and they fight for their homes and their family with decency and passion. It is ironic that in Germany where some of those whose lives are in imminent danger (some of their number have been assassinated outside of Syria) are the targets of German anti-immigration militants who want them sent back to wherever they came from. This movie is a means of seeing exactly where they came from and why they can’t return. We should be standing alongside these men and supporting them, not calling for them to be sent home. In this case, it is the refugees who are heroes and the anti-immigrant protesters who are the cowards and isn’t that ironic indeed.

This is an essential documentary in 2017 and is likely to get another Oscar nomination for Heineman which if it happens will be richly deserved. It couldn’t have been easy to get these men, who are under threat of death by people who are serious about killing them, to open up on camera but he did. Even as Heineman shows us peaceful images of the timeless Euphrates, he reminds us that there are things worth fighting for – one’s home is worth defending no matter what the odds.

Those wanting to see the video firsthand as well as what’s going on currently in Raqqa can check out their website here.

REASONS TO GO: The courage on display here is overwhelming. There are some intensely powerful moments. The Euphrates is a beautiful and ancient river. You get a real sense of the pressure these men are under.
REASONS TO STAY: The soundtrack is occasionally intrusive. Some of the images are extremely unsuitable for the impressionable.
FAMILY VALUES: There is some profanity and a whole lot of violence and some disturbing images of death and the dead.
TRIVIAL PURSUIT: Heineman’s last film, Cartel Land played the Florida Film Festival in 2015 and would go on to be nominated for a Best Documentary Feature Oscar as well as winning three Emmy awards.
CRITICAL MASS: As of 8/12/17: Rotten Tomatoes: 100% positive reviews. Metacritic: 86/100.
COMPARISON SHOPPING: Last Men in Aleppo
FINAL RATING: 8.5/10
NEXT: Snatched

The Journey


Two serious fellas take a walk in the woods.

(2016) True Life Drama (IFC) Timothy Spall, Colm Meaney, John Hurt, Freddie Highmore, Toby Stephens, Catherine McCormack, Ian McElhinney, Ian Beattie, Barry Ward, Kristy Robinson, Mark Lambert, Stewart David Hawthorne, Frank Cannon, John Wark, Michael Hooley, Aaron Rolph. Directed by Nick Hamm

 

Younger readers probably don’t remember much about what the Irish with their typical gift for grim understatement refer to as “The Troubles.” There was a time in Northern Ireland when the Catholics, represented by the Irish Republican Army and their political arm the Sinn Fein were in open revolt against the British-backed Protestant government. The IRA was in all senses a terrorist organization, planting bombs, assassinating political leaders and ambushing British soldiers sent to keep the peace. Belfast became a war zone. Readers over the age of 30 – particularly those in the UK – will remember these times vividly.

It is not like that any longer and while there are still some hard feelings particularly among older hardcore sorts, Ireland is at last at peace and Belfast is a wonderful place for tourists to visit rather than a place for anyone who didn’t have to live there to avoid. The reason for that is that the two sides got together and decided that peace was better than pride, but in order for that to happen the leadership on both sides – represented by firebrand minister Rev. Ian Paisley (Spall) for the Unionists (the Protestant political party) and alleged former IRA coordinator turned politician Martin McGuinness (Meaney) – had to take the message to heart.

Orchestrated by British Prime Minister Tony Blair (Stephens), the two sides met at St. Andrew’s in Scotland to discuss a final, lasting peace but early on the curmudgeonly Paisley informed Blair that he was going to leave for a few days to attend his 50th wedding anniversary celebration in Belfast. McGuinness, realizing that once Paisley was surrounded by hardliners in his party he would be unlikely to budge on important points to making the peace happen, invokes one of the rules of the meeting and arranges to be flown on the same plane to Ireland. However, due to storms the nearest airport in Glasgow had been socked in. There would be a chance to fly out of Edinburgh instead but they’d have to drive there quickly.

Former MI-5 director Harry Patterson (Hurt) arranges for the driver Jack (Highmore), a field operative normally, to have a hidden earpiece and for the car to have microphones and cameras all over it. The hope, shared by Republican politician Gerry Adams (Beattie) and Protestant politician Bertie Ahern (Lambert), is that the two men, who have never spoken to each other and had publicly disdained one another, would get to talking if forced to by a long car ride. All of them felt like McGuinness that once the crusty Paisley, who once declared Pope John Paul II to be the Antichrist, was in Belfast the talks would essentially collapse and the bloodshed would continue.

Essentially the whole movie is two people talking to each other with periodic interjections from Jack and occasional switches to the command center where the two are being observed. There is a prologue (which unusual for a true life drama features pictures of the actual participants rather than having the actors digitally inserted) that explains the lead up to the peace talks (and to be sure, it’s very well done) and an epilogue but mainly it’s just two guys talking. That can be a good thing or a bad thing but when you have two great character actors the caliber of Spall and Meaney, it’s definitely the former.

While I wouldn’t say necessarily that the performances here are Oscar-worthy (although Spall comes pretty close), they are super strong nonetheless. Both actors are riveting and the two have tremendous chemistry. Meaney, chiefly known for his Star Trek role as Miles O’Brien, is jocular as McGuinness, the one who truly understands the horrors of the Troubles and is quite eager to end them but knows that he won’t be very popular with his own people, as Paisley won’t be popular with his if they do find a way to make peace. However, he also realizes that they’ll both be popular with history. Spall is stentorian as Paisley, a perpetually sour expression on his face although he is prone to a somewhat impish (and corny) sense of humor. We’re used to seeing Spall portray English bulldogs; here, he portrays an Irish one.

While the actors don’t really resemble their real life counterparts in the slightest, they both capture the essence of the men they’re portraying, from Paisley’s bombastic speaking style to McGuinness’ haunted thousand-yard-stare. Neither man is with us any longer which is likely just as well; neither one would have been comfortable with the liberties taken with history here.

The former child actor Highmore is solid and likable in an adult role, while the late John Hurt is as dependable as always in a fairly small role but it is enough to remind us of what a great talent he was. Most of the rest of the cast are fine but unremarkable in their parts but Spall and Meaney get the lion’s share of screen time.

Yet the filmmakers cover themselves during that prologue by boldly stating that “this story imagines that journey” which covers a lot of sins. The tale of how two sworn enemies who literally loathed what the other stood for could bury the hatchet and not only learn to work together but indeed became fast friends whose banter was so universal they became informally known as “The Chuckle Brothers” during their tenure as Ireland’s number one and number two politicians.

The cinematography is beautiful as Greg Gardiner gives us lovely vistas of the Scottish countryside (although ironically some of the scenes were filmed in Ireland) and gathering storm clouds, of quaint villages and lonely country roads. It’s a beautiful film to look at. Spall and Meaney are given a lovely sandbox to play in.

I’m conversant with the events of the actual peace talks rather than expert in them but from what I understand the actual story behind how Paisley and McGuinness came to become friends after being enemies is more interesting albeit less dramatic than what’s portrayed here. The changing of hearts and minds tends to be a gradual thing rather than something that happens during the course of a road trip. In some ways the film cheapens the life journey that Paisley and McGuinness actually took with this imagined one but I suppose one could look at it metaphorically and find some common ground with history.

This is despite its laissez faire attitude towards facts a solid and impressive film thanks largely due to the performances. It’s never a bad thing seeing great actors act well and you’ll certainly see that here. One gets a sense of the depth of hatred that each side had for the other and the desperate but slender hope that they could find some common ground for peace. One thing is for certain; it was hellaciously difficult  for both sides to get past their hatred and distrust for the other and learn to live in peace. If the Irish can do it, that gives us some hope that it can happen here too.

REASONS TO GO: Tremendous performances by Spall and Meaney who work very well together. The cinematography is top-notch.
REASONS TO STAY: History is fudged quite a bit and the story is oversimplified and “Hollywoodized” for the sake of unneeded dramatic tension.
FAMILY VALUES: The themes are adult and there are some violent images as well as plenty of foul language.
TRIVIAL PURSUIT: The journey depicted, sadly, never actually happened. The Rev. Paisley did not fly to Belfast for his Golden Wedding anniversary as depicted for the simple reason that his wife Eileen accompanied him to St. Andrew’s. McGuinness later recalled that the two didn’t speak directly at the St. Andrew’s Peace Talks and didn’t have their first actual conversation until about six months later.
CRITICAL MASS: As of 6/20/17: Rotten Tomatoes: 64% positive reviews. Metacritic: 51/100.
COMPARISON SHOPPING: Hunger
FINAL RATING: 7/10
NEXT: F(l)ag Football

Chuck (2017)


Liev Schreiber gets ready to take on the role of Chuck Wepner.

(2017) Sports Biography (IFC) Liev Schreiber, Elisabeth Moss, Naomi Watts, Ron Perlman, Michael Rapaport, Jim Gaffigan, Pooch Hall, Jason Jones, Morgan Spector, Sadie Sink, Zina Wilde, Catherine Corcoran, Wass Stevens, Angela Marie Ray, Liz Celeste, Ivan Martin, Joe Starr, Jen Ponton, William Hill, Mark Borkowski, Marell Miniutti, Leslie Lyles, Megan Sikora. Directed by Phillippe Falardeau

 

America loves an underdog and perhaps there’s been no bigger underdog in U.S. boxing history than Chuck Wepner. A journeyman heavyweight in the 1970s based in Bayonne, New Jersey, he’d had a decent enough career, winning the Jersey State Heavyweight Championship but had never really fought any of the big dogs of the era – until 1975.

Wepner (Schreiber) has a certain amount of local fame as he is treated like he’d won the heavyweight championship of the world. Of course, admiration doesn’t put food on the table so he runs a liquor route to make ends meet. His wife Phyliss (Moss) endures the boxing in which he takes terrible beatings but Chuck tends to have a wandering eye – and the other body parts unfortunately wander as well. The marriage is most definitely sailing through rough waters and while Chuck is devoted to his daughter Kimberly (Sink) his ego tends to get in the way of making smart choices.

After Ali (Hall) wins the Rumble in the Jungle against George Foreman, his manager Don King invites Wepner to fight for the championship against Ali, then just a little past his prime. The match is expected to be a joke but Wepner gives Ali everything he can handle, coming just 18 seconds away from going the distance until Ali, angered that Wepner had knocked him down, pummeled him into a technical knockout. Still, Wepner became a folk hero.

A young out-of-work actor named Sylvester Stallone (Spector) sees the fight and is inspired to write a character based on Wepner – Stallone names him Rocky Balboa. The rest is history and although Wepner has nothing to do with the movie itself, he feels a sense of accomplishment when the movie wins multiple Oscars as if he had been responsible. He starts billing himself as “The Real Rocky.”

But all the accolades and adulation get Chuck’s ego spiraling out of control and he spends the Disco Decade in debauchery, doing drugs, drinking heavily and partying with women. Having had enough, Phyliss leaves him for good and Chuck sinks into a deep depression fueled by drugs and alcohol. Standing by him is his estranged brother John (Rapaport), his best friend (Gaffigan), his longtime manager (Perlman) and a barmaid named Linda (Watts) who is unimpressed with Chuck’s fame. Will it be enough to get him back on the straight and narrow?

Because the stories are so similar, the first part of the film comes off as kind of a Rocky Lite which may or may not be what the filmmakers intended. Then, in a sense, it all goes off the rails as Wepner gets lost in the trappings of fame, 70s style – discos, tons of drugs, tons of sex. It turns into a cautionary tale at that point which is diametrically different to the underdog story that it began as.

One of the things that really caught my attention is that Falardeau accomplishes either digitally or by using film stock the look of era movies which helps keep you right in the 70s. The trappings of the time – the truly obnoxious hair, the boxy cars, the outlandish clothes and the pulse of disco – further set the tone.

Schreiber of late has gotten notoriety for playing the Hollywood fixer Ray Donovan on Showtime and I can’t help but notice that while both Donovan and Wepner are violent men, Donovan is clever and street smart while Wepner is easily swayed by praise. Wepner has an ego which makes some sense since he came from a background in which his ego along with his body took a pounding. When everybody loves you, it’s hard not to love yourself.

While there is some humor to the movie it falls flat in that regard a little more often than I would have liked. The humor is a bit heavy-handed and the movie would have benefited from a lighter tone overall. As for the story, some of you might be aware of Wepner’s history but most people won’t; still, the story is a bit predictable even though it is based on Wepner’s life. Hollywood has had lots of Wepners in its history.

As boxing movies go, this one isn’t going to make any grand changes to the genre but it doesn’t disgrace itself either. It’s entertaining enough and for those who are wary of the big summer blockbusters that are taking up most of the screens in the local multiplex, this makes a very entertaining counter option.

REASONS TO GO: The movie was shot to look like it was filmed in the 70s which enhances the sense of era.  Schreiber is appealing as Wepner in a Ray Donovan-esque way.
REASONS TO STAY: The filmmaker needed a lighter touch here. Overall the film is inoffensive but predictable.
FAMILY VALUES: There is all sorts of profanity, plenty of drug use, some sexuality and nudity, a lot of boxing violence and a few bloody images.
TRIVIAL PURSUIT: The movie was originally titled The Bleeder in reference to Wepner’s boxing nickname “The Bayonne Bleeder.” Wepner claims the title changed due to it sounding like a horror film but it is also well-known that he detested the nickname.
CRITICAL MASS: As of 5/26/17: Rotten Tomatoes: 77% positive reviews. Metacritic: 68/100.
COMPARISON SHOPPING: Ali
FINAL RATING: 6.5/10
NEXT: Power Rangers

Wiener-Dog


Music to tame the savage beast.

Music to tame the savage beast.

(2016) Black Comedy (IFC/Amazon) Greta Gerwig, Kieran Culkin, Danny DeVito, Ellen Burstyn, Julie Delpy, Keaton Nigel Cooke, Tracy Letts, Charlie Tahan, Ari Graynor, Zosia Mamet, Michael Shaw, Marcella Lowery, Connor Long, Tyler Maynard, Devin Druid, Sharon Washington, Rigoberto Garcia, Haraldo Alvarez, Dain Victorianio, Andrew Pang, Trey Silver, Molly Gay, Bridget Brown. Directed by Todd Solondz

 

Indie auteur Todd Solondz is one of those directors that either you love or you hate. There is rarely anyone who takes the middle ground with his films, which tend to be somewhat misanthropic. His view of the human condition, particularly as it applies to American suburban life, is pretty bleak. Would that change given in his newest film?

No it wouldn’t. This has been touted as something of a follow-up to his seminal 1995 film Welcome to the Dollhouse but only in the sense that it has a couple of characters in common with that film albeit portrayed with all-new actors. This is a series of four vignettes linked together with the presence of a sad-eyed dachshund who endures four different owners of various degrees of likability.

He is brought from the pound initially by Danny (Letts) and Dina (Delpy), parents of Remi (Cooke), a young boy who survived what appears to be some form of cancer. He’s lonely and depressed and the Wiener-Dog, as he names him, seems just the tonic. However, Danny and Dina have their own things going on; Dina isn’t above manipulating her son, explaining that the reason that they have to have Wiener-Dog spayed is so that she doesn’t get pregnant from being raped by a local dog. Charming.

But Remi frankly isn’t mature enough to handle the dog so she is returned to the local shelter to be put down. However, veterinary assistant Dawn Wiener (Gerwig) rather than putting a healthy dog to death steals Wiener-Dog away and keeps her for herself. In many ways Dawn is as lonely as Remi was, and now that she has a Wiener-Dog of her own, she renames him Doody after Howdy-Doody, not necessarily getting the other connotation of that name.

A chance meeting with an ex-high school classmate named Brandon (Culkin) whom she continues to crush on despite the fact that he was unrelentingly cruel to her in high school leads to a road trip to Ohio, ostensibly to get drugs but also for Brandon to meet up with his brother Tommy (Long) and his wife April (Brown), both of whom are afflicted with Down’s syndrome. They will galvanize Dawn into doing the most selfless thing she’s ever done.

After a hilarious “intermission” starring Wiener-Dog herself, we go to the next vignette. Doody is now owned by Dave Schmerz (DeVito), a screenwriting teacher at a New York-area university (and not one of the better ones) who is juggling teaching students who don’t think they have anything to learn with trying to sell a screenplay that his condescending agent has been dangling in front of him like the proverbial carrot. He doesn’t realize that he’s a laughingstock, his refrain of “What if…now what?” having become something of an iconic mock. This leads him to do something quite drastic.

Finally, we meet Nana (Burstyn), a bitter, crotchety elderly woman who lives with an apathetic housekeeper (Lowery). Nana is visited by her granddaughter Zoe (Mamet) who never visits unless she needs money. Zoe has a new boyfriend, the artist Fantasy (Shaw) who doesn’t have a terribly high opinion of anyone not named Fantasy. Nana and Zoe end up having a bit of a heart-to-heart but as it turns out, something nasty is just around the corner for Nana.

Solondz is, as I mentioned earlier, not really everyone’s cup of tea. Those who enjoy his particularly type of brew will find this film extremely palatable, although some may grouse that his movies all carry similarities that are beginning to get a bit repetitive. He likes to employ the anthology format and has done so on more than one occasion.

When Solondz is at his best, he can be wickedly funny. He blows past boundaries without a second thought and treats sacred cows like they’re so much hamburger meat. However, his point of view about humanity is not very compatible with those raised on Disney thinking that everyone is basically a prince or princess at heart. Mostly, he sees humans as selfish, self-centered, cruel, vain and morally weak. He doesn’t paint flattering pictures of the species and quite frankly he isn’t required to.

He sure does coax out some great performances from his actors though. DeVito turns in a marvelous performance that is easily the best thing he’s done in years or even decades. His sad sack screenwriter is a figure of pity even though he is a bit of jerk at times. Still, DeVito does a lot of work with his eyes getting his emotions across here and it works. You can feel the beat down dog elements of the character and you can also feel the pressure beginning to escape as he reaches the boiling point.

Equally marvelous is Burstyn, who wears this bizarre oversize eye wear that are like a cross between aviator sunglasses and World War I flying ace goggles. She orders people around like a martinet but that doesn’t disguise the terrible vulnerability inside her. She knows her granddaughter is taking advantage of her, and she knows her granddaughter is making terrible life choices, but nonetheless she helps her out. Burstyn imbues the role with gravitas and dignity, solidifying herself as the grand dame of American cinema.

Da Queen was very vocal about her feelings for the film, stating that she dug it right up until the last five minutes and I have to concur. Anyone who knows me knows that I’m a huge dog person; I have been known to wear a t-shirt that states “I don’t care who dies in a movie as long as the dog lives.” Animal lovers in general and dog lovers in particular will have a hard time with the ending. I get why Solondz went this particular route and to a certain extent I can admire it, but those who find violence to animals unpalatable had best check out before the movie ends.

There are moments here that are as good as anything I’ve seen from Solondz but the ending was really a deal killer for me. Maybe it’s a bit illogical for me to be fine watching humans being chopped up like celery but not able to watch even a hair on poor Fido’s head harmed but that’s how I’m wired, so take this with a grain of salt. This isn’t filmmaking for everyone, but then again it’s not meant to be. I can admire a movie like this without liking it and the shame of it was that I liked most of it but the parts I didn’t like I loathed. Maybe that’s what Solondz had in mind all along.

REASONS TO GO: There are some really funny moments here. DeVito and Burstyn come through with some tremendous performances.
REASONS TO STAY: The ending is extremely disturbing and most definitely not for dog lovers. A little bit too much like all of the director’s other films.
FAMILY VALUES: There is some pretty disturbing content (particularly if you’re an animal lover) as well as some animal excretions, as well as quite a bit of profanity.
TRIVIAL PURSUIT: The part of Dawn Wiener from Welcome to the Dollhouse was originally played by Heather Matarazzo who turned down the opportunity to reprise the role. Greta Gerwig was cast instead.
BEYOND THE THEATER: Amazon
CRITICAL MASS: As of 8/24/16: Rotten Tomatoes: 76% positive reviews. Metacritic: 66/100.
COMPARISON SHOPPING: Welcome to the Dollhouse
FINAL RATING: 6/10
NEXT: Breaking a Monster

Loosies


A ridiculously handsome man.

A ridiculously handsome man.

(2011) Dramedy (IFC) Peter Facinelli, Jaimie Alexander, Michael Madsen, Vincent Gallo, William Forsythe, Marianne Leone, Christy Carlson Romano, Joe Pantoliano, Eric Phillips, Tom DeNucci, Tom Paolino, Ara Boghigian, Anthony Paolucci, Glenn Ciano, Johnny Cicco, Stella Schnabel, Peter Berkot, Anne Mulhall, Sera Verde, Rebecca Forsythe. Directed by Michael Corrente

Sometimes people do the right things for all the wrong reasons. Just as often, people sometimes do the wrong things for the best of reasons. At the end of the day, it doesn’t really matter why you do things, just that you did them.

Bobby (Facinelli) is a handsome, charming kind of guy. He walks around New York in a suit all day, letting all and sundry know that he works on Wall Street as a broker. Actually, Bobby is a pickpocket and a damned good one. He snatches watches, cash, cell phones, the occasional police badge – whatever he can get his slick fingers on.

But things are changing in his life. Lucy (Alexander), the pretty and spunky bartender at his favorite tavern, is pregnant – and Bobby’s the baby daddy. What had been a one night stand turned into a life changing event. Bobby, at his core a decent sort of fellow, wants to do the right thing. He wants to marry Lucy and settle down into being a good husband, father and provider.

That’s not going to be easy. Bobby owes Jax (Gallo) a fairly hefty debt, the legacy of his gambling-addicted father and is struggling to pay it off. Lt. Nick Sullivan (Madsen), the cop whose badge Bobby stole, is absolutely pissed off about it and is pursuing Bobby with the ferocity and tenacity of a pit bull on meth. His mom Rita (Leone) has a new boyfriend, the jeweler Carl (Pantoliano) who has been known to exchange punches with Bobby. And Lucy doesn’t want to be the wife of a lowlife, nor her child to be raised by one.

This is meant to be a star-making vehicle for Facinelli who has labored in the shadows for much of his career. An engaging lead with star potential, he has been relegated mainly to supporting roles although when he’s gotten the opportunity to shine (as on the too-brief TV series Damages) he has generally made the most of it and he does so here.

Bobby is a thoroughly likable rapscallion and while his choice aren’t the best, they are generally the lesser of two or more evils. Facinelli imbues the character with a general charm, ensuring the audience will like the schlub even though they know he’s doing things that are less than kosher. Facinelli and Alexander make a believable couple; there are a lot of bumps in the road for their characters but one never doubts the genuine affection.

While this is a bit of a mash-up between a crime caper and a romantic comedy, I don’t really see anything fresh here from either genre. It’s a bit paint-by-numbers in a sense  that is elevated by the performance of its cast. Facinelli is engaging enough performer that you’ll want to spend an hour and a half with him without checking your watch. These days, that’s kind of a plus.

WHY RENT THIS: Facinelli is likable. Good chemistry with Alexander.

WHY RENT SOMETHING ELSE: Doesn’t really offer up anything new.

FAMILY VALUES: There’s a bit of violence, some sexual content and some rough language.

TRIVIAL PURSUIT: The husband of Nikki Reed, who co-starred with Facinelli on the Twilight series, contributes three songs on the soundtrack with his band Grand Magnolias (his name is Paul McDonald of American Idol fame).

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $3,519 on an unreported production budget.

COMPARISON SHOPPING: New York, I Love You

FINAL RATING: 6/10

NEXT: X2

The Punk Singer


The amazing Kathleen Hanna.

The amazing Kathleen Hanna.

(2013) Documentary (IFC/Sundance Selects) Kathleen Hanna, Adam Horovitz, Tobi Vail, Joan Jett, Carrie Brownstein, Kim Gordon, Johanna Fateman, Corin Tucker, Tavi Gevinson, Jocelyn Samson, Lynn Breedlove, Kathryn Wilcox, Jennifer Baumgardner, Billy Karren, JD Samson, Leo Galland, Tamra Davis, Allison Wolfe, Jen Smith, Ann Powers. Directed by Sini Anderson

Feminism has deep roots going back to the women’s suffrage movement and Susan B. Anthony and continuing through the 60s, the attempt to pass the Equal Rights Amendment (which remains unpassed) and Gloria Steinem. There were many who thought the feminist movement to be dead. Don’t tell the Riot Grrrls that.

Riot Grrrls is a movement that sprung primarily out of punk music made primarily by women which addressed women’s issues and adopted an aggressive feminist stance. One of the major forces in that movement was the band Bikini Kill and their primary songwriter, singer and frontwoman Kathleen Hanna.

Bikini Kill grew up in the Pacific Northwest but later relocated to Washington DC. They were often misunderstood by the general public and frankly misrepresented by the press as man-haters (which they clearly weren’t as the band’s guitarist, Billy Karren, is male). Hanna was also often described as the victim of rape by her father which she in the film addresses as completely untrue (rape and sexual abuse are frequent topics for Hanna in both Bikini Kill and her next band, Le Tigre).

As a stage performer, Hanna is energetic and passionate. She used her sexuality as a form of expression and her gamine good looks, which remind me of Zooey Deschanel, are arresting. One of her trademarks is to call women to the front by the stage and to ask men to stay in the back; this was a safety issue as at punk shows moshing could get violent and cause women to be injured and molested. Hanna wanted Bikini Kill shows to be safe places for women.

She is married to Beastie Boy Adam Horovitz, which makes for an interesting couple. He comes from a band who has written lyrics about women that are less than complimentary but he comes off as a devoted husband and one who supports his wife and her viewpoint completely. They’ve been married seven years although they’ve been together for much longer than that which is unusually long for relationships among rock musicians.

Hanna stopped performing back in 2005 and for a long while many of those who knew her didn’t know why. She used this film which debuted at last year’s South by Southwest Film Festival (which I personally think is the perfect place for a film like this) to announce that she had been diagnosed with late state Lyme’s Disease which prevented her from performing – she had told her bandmates in Le Tigre that she felt she had written everything she wanted to say which she in the film admits was untrue but that she felt safer in saying that than in admitting she no longer had control over her own body.

Cinematically, the movie doesn’t break any new ground as a documentary. Fans of Bikini Kill and Le Tigre will be happy to discover that there is plenty of archival footage of both bands – some of it never seen publically. There are a great many talking head interviews, mainly with women at Hanna’s request – she didn’t want the film to be “validated” by male experts which I can kind of understand, given her point of view.

Her performance with her new band The Julie Ruin (named for her solo album) at the Knitting Factory in New York City is captured at the end of the movie. It seems that Hanna is going to be back writing and maybe performing (although I can’t imagine she’ll be performing nearly as much) which to my mind is a welcome thing.

I had the pleasure of doing a phone interview with Hanna shortly before she instituted a press blackout after continual misrepresentations in the mainstream press about her band and her philosophy. I was pretty much still finding my way politically so I’m afraid I probably came off as something of an oaf at the time, but I remember her passion, her humor and how articulately she expressed herself. One of the things I remember is asking why the Pacific Northwest seemed to be such a catalyst for social change as well as giving the world grunge. I don’t remember exactly what she replied but the thought clearly amused her. Obviously I was eager to see the film when I discovered it would be playing at the Enzian.

If I had the chance to interview her again, the one question I’d be interested in having her answer is whether the feminism she practices divides the sexes further and whether or not it would be healthier to encourage unity between the sexes. However, I must say that I came away from the film with three things. First, as a film it would have been better if it relied less on talking heads. Secondly, that feminism is far from dead and given the current war on women being practiced by the radical right, that it is needed much more now than ever. Thirdly, I came away respecting Ms. Hanna even more than I already did which was considerably. Even if you aren’t into punk or electroclash music (which my wife isn’t) you can still find a lot to appreciate in this movie.

REASONS TO GO: Terrific performances by nearly all of the cast. A lovely walk down Memory Lane.

REASONS TO STAY: Diverges from fact a few times.

FAMILY VALUES:  Some of the language is rough.

TRIVIAL PURSUIT: The film was partially funded through a Kickstarter campaign as well as by a benefit concert at the Knitting Factory headlined by Gordon.

CRITICAL MASS: As of 1/5/14: Rotten Tomatoes: 82% positive reviews. Metacritic: 75/100.

COMPARISON SHOPPING: Last Days

FINAL RATING: 6.5/10

NEXT: Mandela: Long Walk to Freedom

The Other Woman


 

The Other Woman

Lisa Kudrow teaches the art of the fake smile.

(2009) Drama (IFC) Natalie Portman, Scott Cohen, Lisa Kudrow, Charlie Tahan, Lauren Ambrose, Michael Cristofer, Debra Monk, Mona Lerche, Anthony Rapp, Kendra Kassebaum, Elizabeth Marvel, Mary Joy, Maria Dizzia, Ira Hawkins. Directed by Don Roos

 

By its nature marital infidelity is a terrible and unforgivable thing. This is true of the married party who cheats on their partner but it is also true of the one they’re cheating with, especially when they know full well that they’re having an affair with a married person.

Emilia Greenleaf (Portman) is a Harvard grad who works in the law office of Jack (Cohen), a married partner in the firm. She knows of his marital status but she thinks he’s cute and attractive and that attraction only grows the longer she works there. One thing leads to another and soon the two are carrying on an affair.

When Emilia gets pregnant, Jack decides that he would rather be with her than with Carolyn (Kudrow), the driven but successful obstetrician. The two divorce with Jack unaccountably given custody of William (Tahan), their young son.

The baby is delivered and it’s a girl. A few days after coming home, tragically, the baby dies of Sudden Infant Death Syndrome (SIDS) leaving her parents disconsolate. Emilia particularly has a hard time dealing with the baby’s death, growing more distant and irritable. Her relationship with William has become a war, each side practicing little cruelties upon the other (she encourages the lactose-intolerant William to eat an ice cream sundae; he proposes she sell all the infant furniture and clothes on eBay). Carolyn in the meantime has instituted proceedings to take back custody of William. She has become shrewish and confrontational. Emilia’s parents (Cristofer and Monk), long-divorced after her father cheated on her mother as a result of a sex addiction, are trying to patch things up although Emilia has been unable to forgive him for abandoning her.

Emilia’s life is falling apart and so is she. Everything she touches seems to turn to ash; her close friend Mindy (Ambrose) and Simon (Rapp) are slowly being alienated and her marriage is close to over. Could this be karma finally catching up with the other woman?

Portman is showcased here in this film by veteran indie director Roos (The Opposite of Sex), based on the book Love and Other Impossible Pursuits by Ayelet Waldman. This is a bit different than we’re used to from Roos who specializes in clever and light relationship comedies. The cinematography is strong here which makes for beautiful pictures telling a bleak story. That story is told mostly in flashback which requires a deft hand. It’s not a new method of storytelling but it is often botched, leaving the viewers confused and frustrated. That doesn’t happen here.

Portman is a gifted actress and she makes good use of her talents here. Emilia is far from being a saint – after all, she did initiate a relationship with a man that was already taken. She also shows a streak of arrogance and insensitivity, as well as a bit of temperamental cruelty that particularly surfaces after the baby’s death. This isn’t a character that invites audience identification and yet we wind up doing just that; Emilia’s deeds aren’t likable but Portman makes Emilia herself so.

Kudrow, who has appeared in several of Roos’ films, is usually a bit of a charming ditz in most of her roles but here she’s capable, a little cold and VERY pissed off. She’s justifiably angry too but as in the case of a fairly significant percentage of women whose husbands left them for the women they cheated with, saves her vitriol for the woman and not so much for her husband. One thinks Carolyn blames the entire affair on Emilia, even though it takes two to tango and Jack is quite the willing dance partner.

In fact, Cohen’s Jack seems a likable fellow and we don’t get any sense of why he felt compelled to cheat on his wife other than that the woman coming onto him is Natalie Portman, one of the most beautiful and desirable women in Hollywood today. The movie never really examines too closely Jack’s culpability which I suppose is fitting since the title is The Other Woman, not The Cheating Husband.

I guess in a way the subject matter is a bit of a soap opera by nature, but it certainly feels as such in execution. There are some pretty adult subjects here, given the infidelity and the baby’s death and subsequent grieving of the mother but the handling is a bit heavy-handed whereas a more sensitive touch would have been appreciated.

This can be recommended for the performances of the lead women, although Tahan also turns in a good job. His byplay with Portman feels authentic and the strain between them is palpable. Those aspects of the movie work. What doesn’t is the apparent blameless nature of the man and the daytime drama approach of the screenplay, but it’s still worth seeing thanks to Portman and Kudrow.

WHY RENT THIS: Fine performances by Kudrow and Portman.   

WHY RENT SOMETHING ELSE: Somewhat soap opera-esque. Sensitive subject matter handled with an iron fist.

FAMILY VALUES: The subject matter is fairly adult with a good deal of sexual content and a bit of bad language.

TRIVIAL PURSUIT: The movie was shelved for nearly two years during which time Portman won her Best Actress Oscar.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $452,191 on an unreported production budget. The movie might have broken even but I suspect that’s quite unlikely.

COMPARISON SHOPPING: Stepmom

FINAL RATING: 6/10

NEXT: The League of Extraordinary Gentlemen