Tottaa Pataaka Item Maal (The Incessant Fear of Rape)


You really don’t want to get on her bad side.

(2018) Drama (Mumba DeviShalini Vatsa, Chitrangada Chakraborty, Kritika Pande, Vinay Sharma, Ahmareen Anjum, Sonal Joshi. Directed by Aditya Kripalani

In our patriarchal society, rape has been a hidden problem, one that is often not taken seriously by the powers that be. A large percentage of rapes go unreported because often the investigation and trial are nearly as bad if not worse than the actual sexual assault. As bad as things are in the United States however, they are infinitely worse in India.

Delhi is the rape capital of India (and quite possibly the entire planet). The women of Delhi live in a constant state of fear and hyper-awareness. At 8 pm, women know that the time for extra vigilance has come and being away from their homes is taking a terrible chance. Ladies-only taxi services have sprouted up because of the number of women who have gotten into taxis only to be driven to a remote spot and raped by the driver. Ladies only services only pick up women and have female drivers.

One such service is run by Shaila (Pande) who is also a student and a self-professed feminist. One evening she picks up a group of women to take home; Chitra (Chakraborty), a martial arts instructor, Vibha (Vatsa) an office worker and Shagun (Joshi), a police officer. Traffic, as is typical at rush hour, is bad and the women decide to stop an get a bite to eat before continuing on their way home. At a roadside eatery, they are harassed by a tough guy on a motorcycle, the kind of thing women around the world have to endure. It doesn’t end there, however.

As they are driving a cyclist pulls up next to them and makes some lewd remark- s which causes an accident…sort of. The motorcyclist ends up sprawled on the side of the road and the women come up with an idea; they are all tired of living in fear of being raped. They wanted to have men feel that same fear – maybe if they were to understand how it felt to know they could be violated at any time changes might actually come.

They take the guy (Sharma) to an abandoned room which had been used by criminals who had since been arrested. They lock him in a metal cabinet and leave him there with the intention of figuring out how to break him to the point where he becomes certain that he can be raped at any time.

The women use a variety of techniques to break him down, by treating him as a servant girl to chloroforming him and spraying pepper spray into the cabinet. Chitra turns out to have a lot of anger and often has to be restrained; Shagun reminds her that when they react to their captive, they are putting the power in his hands. Their job is to make him react to them. They are streaming video of their various indignities being visited upon him live to the Internet but what will happen when the day comes to actually convince the man in their possession that he is about to be raped?

Kripalani also directed the 2017 feature Tikli and Laxmi Bomb which dealt with the abuse of sex workers. This takes a broader look at rape culture and the effect it has on women. In all honesty, I don’t think there’s ever been a movie like this. Sure, we’ve seen our share of movies about women pushed to the edge (and often over it) by a sexual assault but those are generally revenge thrillers. There are elements of that here but I wouldn’t say this was a revenge thriller per se.

As with his previous film, Kripalani films largely on the streets of Mumbai and the movie has an authentic feel. While there are more sets in this film than in the last, the movie doesn’t feel static at all. There is kind of gravity pushing and pulling the film towards the inevitable climax which although somewhat anticlimactic in some ways, feels like the right direction for Kripalani to go in.

]Both Chakraborty and Pande appeared in his last film; they both deliver strong performances, particularly Chakraborty who is turning out to be an excellent actress. Chitra is a seething cauldron of rage who doesn’t need much prompting to erupt but at the same time she has a surprisingly vulnerable heart which is revealed in a moving conversation with Vibha late in the film. All of the characters have a personal connection to sexual assault which get revealed at various places in the film.

More or less this is cinema verite. There isn’t a lot of frills and the budget for the movie was likely not very large. The cinematography is a bit murky in places, like a ballroom lit by a 20 watt bulb.

I can’t imagine how women deal with the constant threat; the rules they have to follow – don’t get into an elevator alone with a strange man, when in a bar never drink anything you didn’t watch the bartender make and hand directly to you, always carry a rape whistle or pepper spray on your person, always park in well-lighted areas close to an exit. Be aware of what you’re wearing because that may be considered an invitation, or at least be used against you during the trial in the unlikely event that the crime goes to trial. These are things that men don’t deal with, can’t even conceive of. When the #MeToo movement began and women started posting that they had been victims of sexual harassment and/or assault, I had always known that the percentage of women who had gone through that horror was high but I didn’t realize how high it really was. I was shocked at how many friends and family had survived it.

There has been some blowback about the film; some men see it as threatening and even encouraging violence. I don’t know that I disagree; however, as far as understanding where that rage comes from, I can completely understand and even applaud the filmmakers for daring to tap into the rage of women, something that most men fear to do.

While the film has played the festival circuit, the producers tell me that Netflix has picked up the movie and will be streaming it this summer. I certainly hope so; I think a lot of men who could benefit from seeing it. The tragedy is that they probably aren’t aware that they are part of the problem.

REASONS TO SEE: A very timely premise considering the rise of people opposing rape culture.
REASONS TO AVOID: The lighting is a bit too dark.
FAMILY VALUES: There are some profanity and violence, sexual references and descriptions of rape.
TRIVIAL PURSUIT: The words tottaa, pataaka, item and maal in Hindi are words that are used in Northern India to tease women. They loosely translate to “hot,” “sexy” and so on.
CRITICAL MASS: As of 5/31/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Rape Squad
FINAL RATING: 6.5/10
NEXT:
Diamantino

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One Child Nation (Born in China)]


This is NOT a wanted poster!

(2018) Documentary (Amazon) Nanfu Wang, Zaodi Wang, Zhimei Wang, Tunde Wang, Xianven Liu, Huaru Yuan, Jiaoming Pang, Shuangjie Xeng, Brian Stuy, Long Lan Stuy, Shuquin Jiang, Peng Wang, Zaou, Yang. Directed by Nanfu Wang and Jialing Zhang

China is the most populous nation on Earth with over a billion people and counting. Back in 1979, they sought to address their overpopulation problem by setting a “one child” policy, limiting families to only one child. It sounds sensible on paper but things rarely work out in reality the way they do on paper.

For one thing, Chinese tradition values male children over female; many families would have a female baby and then abandon the baby so that they could try again to have a male child. Other female babies would be put up for adoption, with the adoptive parents being led to believe that the children were orphans when in fact their parents were alive and well.

As policing the policy became more problematic, enforcement became a little more brutal. Families that had second children would receive visits from government agents who would forcibly take the additional children out of the home. Women would be sterilized following the birth of their first child. Forced abortions were performed, to the tune of 40 to 50 thousand of them according to Huaru Yuan, a Chinese midwife from that period.

American filmmakers Nanfu Wang and Jialing Zhang were both born under the one child policy, although their parents had emigrated to the United States afterwards. Wang was unusual in that her parents received dispensation to have a second child, something that was highly unusual at the time so Wang was often teased at school because she had a little brother.

For the film, Wang traveled back to the rural Chinese village where her family was from. She interviewed family and neighbors about the policy which was finally rescinded in 2015 although now the official policy is a two-child restriction. She reviews the propaganda (which was relentless) and the stories go from heartbreaking to horrifying.

The power of the movie develops in kind of a slow burn despite initial images of aborted fetuses and of Chinese military might; as to the latter, I think the ability to wage war is far less impressive than the ability to make peace but what do I know – but then again, the Chinese have not known war in 60 years. Certainly America, which has only known peace for a total of sixteen years of its entire existence doesn’t know much about making peace it would seem.

I was aware of the policy before watching the film and I always felt somewhat uneasy about it – how is something like that enforced? I remember hearing that the Chinese government was having a tough time enforcing the policy in rural parts of their vast country and the movie seems to bear that out. However, the human toll of enforcement is what this film is all about and at times it is staggering.

The ripples continue to be felt today. American adoptees are not eager to meet their Chinese families, sometimes refusing altogether and their American adoptive parents are understandably nervous that the children they raised will be forcibly returned to China. In the case of twin sisters separated by this cruel policy they were very wary when an agency discovered their Chinese family. Both agreed to communicate but at the moment there’s no question of them meeting. The Chinese half of the siblings wants a normal relationship with her sister but her twin isn’t ready for it. It makes the situation awkward but it’s hard not to feel for the American sister who suddenly has to come to terms that she has a twin while the Chinese sister was aware that there was once a twin. Politicians are never that concerned with the human fallout from their whims, caprices and policies but even those meant with the best of intentions can end up with devastating consequences to those affected.

REASONS TO SEE: It starts slowly but grows more powerful during the course of the film. The human cost of the one child policy is heartbreaking.
REASONS TO AVOID: The evolution from a highly personal family movie to a more general issue film isn’t a smooth one.
FAMILY VALUES: There is some brief mild profanity.
TRIVIAL PURSUIT: Florida Film Festival regulars will remember Nanfu Wang’s first film Hooligan Sparrow which received great acclaim during its festival run and later on a limited release.
CRITICAL MASS: As of 4/15/19: Rotten Tomatoes: 100% positive reviews: Metacritic: 92/100.
COMPARISON SHOPPING: My Life in China
FINAL RATING: 7.5/10
NEXT:
Princess of the Row

Everybody Knows (Todos lo saben)


Mother comforts daughter.

(2018) Drama (Focus) Penelope Cruz, Javier Bardem, Ricardo Darin, Eduard Fernandez, Bárbara Lennie, Inma Cuesta, Elvira Minguez, Ramón Barea, Carla Campra, Sara Sálamo, Roger Casamajor, Josė Ángel Egido, Sergio Castellanos, Iván Chavero, Tomás del Estal, Imma Sancho, Paco Pastor Gómez, Jaime Lorente, Mari Carmen Sánchez, Carla Campra. Directed by Asghar Farhadi

 

When a family gets together for an occasion (a wedding, a christening, a holiday etc.) it’s usually a joyful occasion. Oh sure, there may be some relatives you’re not keen on seeing like alcoholic Uncle Al, creepy cousin Wendell or Grandpa the conservative political troll but by and large you’re happy to be around those who have blood ties. Then again, they all know where the bodies are buried – sometimes literally.

Laura (Cruz) lives in Argentina now but she returns to her rural Spanish village to attend her sister Ana’s (Cuesta) wedding to Joan (Casamajor). She has brought with her teen daughter Irene (Campra) who is just getting into that rebellious age, her younger son Diego (Chavero) but not her successful husband Alejandro (Darin) who has a successful business to attend to. Also in attendance are bitter patriarch Antonio (Barea) who gambled and drank away most of the land the family once owned, son of a former servant Paco (Bardem) who bought part of that land and turned it into a thriving vineyard, and Paco’s wife Bea (Lennie) whose childlessness is a source of much village speculation.

The night of the reception is greeted with a violent thunderstorm which knocks out the power. As the evening begins to wind down, Laura goes upstairs to check on her children – and finds Irene missing with newspaper clippings of a local kidnapping that ended up tragically scattered on the bed. This is followed up with a texted ransom demand for an exorbitant amount of cash that as it turns out, Laura and Alejandro do not have – her husband being not quite as successful as the family was led to believe.

The fact that Paco and Laura were once lovers until Laura dumped him was no secret – everybody knows this, but not everybody knows…well, the real reason Irene was kidnapped and we won’t get into that here. The kidnappers are very clear that the police should not be called if Irene is to return home alive but they do consult with a retired detective (Egido) who suspects an inside job and in effect tells them to “trust no-one.”

On the surface it sounds like a standard potboiler but when you have a cast like this one and an Oscar-winning director as Farhadi is you can depend on good things happening. Cruz and Bardem are two of the best in the business and Cruz delivers a powerful emotional performance, alternately anguished over her child’s kidnapping and forlorn over what might have been with Paco. Bardem has a bit of a hangdog look but his inner decency stands out from the venality of much of the rest of the family.

Beautifully photographed in idyllic sepia tones, the movie manages to move at the same pace as the rhythms of country life which is a bit odd for a movie with so many thriller elements but works nonetheless. Some American viewers might find this maddeningly slow-paced but most avid cinephiles won’t have a problem with it. Yes, there are twists and turns and none of them are particularly remarkable but the thriller side is pretty effective. The reveal of the identity of the kidnappers though is a bit of a disappointment and never really makes much sense. Me, I liked the view of rural Spanish life more but that’s just the kind of guy I am.

Sometimes a movie can be forgiven its flaws because of the reputation of those behind the camera and the performances of those in front of it. This is such an occasion. Farhadi, who has some amazing films to his credit (including A Separation and The Salesman) didn’t deliver one of his best works here – and keep in mind this is his first Spanish-language film, a language he does not speak. This isn’t for everybody and that and it’s somewhat anti-climactic ending kept it from a perfect score but it’s still a worthwhile viewing for cinema lovers and casual movie fans alike.

REASONS TO SEE: Bardem and Cruz deliver outstanding performances. The film gives a nice glimpse at Spanish rural life. While the twists and turns don’t rewrite the book, they are nonetheless effective
REASONS TO AVOID: The movie drags a little bit in places.
FAMILY VALUES: There is a bit of profanity.
TRIVIAL PURSUIT: Bardem and Cruz, who play former lovers here, are actually married in real life.
CRITICAL MASS: As of 3/18/19: Rotten Tomatoes: 77% positive reviews: Metacritic: 68/100.
COMPARISON SHOPPING: Ransom
FINAL RATING: 9/10
NEXT:
Los Reyes

Outlawed


Some people just shouldn’t be allowed to use grills.

(2018) Action (Vision) Adam Collins, Emmeline Kellie, Andy Calderwood, Andre Squire, Ollie Christie, Jessica Norris, Ian Hitchens, Anthony Burrows, Zara Phythian, Tina Harris, Brian Woodward, Rose Joeseph, Martin Gaisford, Tobias Fries, Celiowagner Coelho, Craig Canning, Steven Blades, Jack Edwards, Renars Latkovskis, Phil Molloy, Melvyn Rawlinson, Lisa Opara, Halle Neathey, Charlotte Williams. Directed by Adam Collins and Luke Radford

 

Action movies are surprisingly formulaic. Somebody gets wronged, somebody gets their booty booted. It’s a formula as old as time. The truly great action movies either add something to the formula or execute it flawlessly. Some merely emulate the formula as best they can.

Jake (Collins) is part of an elite British special forces unit. They do the dirty work when there is a bad guy who needs to be terminated, or a child that needs rescuing from terrorists. After capturing a particularly nasty wild-eyed wild-haired terrorist (Fries) who likes to shoot children, Jake and his crew are recognized with medals.

He is contacted by Nottingham businessman/power broker Harold Archibald (Hitchens) who offers Jake a job. Jake however knows what Archibald is all about and declines. Shortly after, Archibald – who has been making deals with the wild-eyed wild-haired terrorist, double crosses the WEWH terrorist which is not usually a good idea when dealing with terrorists. He ends up with his children kidnapped and even though Jake’s team is sent in to save the day, it ends in tragedy.

Jake just can’t get past that a child died on his watch and he decides to get his discharge papers. He promptly discovers that his girlfriend (Kellie) is cheating on him and so Jake sinks into a bottle and screws the cap shut behind him. Then, childhood girlfriend Jade (Norris) finds him sleeping in the street and tells him that she needs his help Her father was murdered you see and the person responsible was none other than Harold Archibald and she has the proof! Archibald owns the cops – or at least has a long-term lease out on them – and is virtually untouchable. Nevertheless he kidnaps Jade and almost dares Jake to come get her. What self-respecting special forces operative could turn down a dare like that?

Collins is a veteran stuntman on a variety of major Hollywood productions as well as a former British Marine. His acting chops are from the early Jason Statham school of acting. He has some potential in a Vinnie Jones sort of way (I’m really name-checking today) but largely it’s wasted because the role he is given to play here is so run of the mill. I don’t feel sorry for him however; he co-wrote and co-directed this movie so he has only himself to blame.

The action sequences as you might expect are the highlights here. Unfortunately when it comes to exposition, Collins makes a fine soldier. The story portions tend to be a bit maudlin complete with overwrought score and advanced by unbelievable coincidences. The dialogue is clunky and cliché; the villains are way over the top but that’s okay – villains should be. Heroes should be understated and brooding, or outgoing and light.

If you’ve never seen an action movie before, this is a fine jumping-off point but if you have seen your share a little too much of this will be too familiar. While there are a few things that work, most of the movie just doesn’t live up to the standards it should be.

REASONS TO GO: Collins is a solid action performer.
REASONS TO STAY: The film is absolutely rotten with action movie clichés. The story is dull and uninspiring.
FAMILY VALUES: There is a whole lot of violence and profanity as well as nudity, sexual references and some drug use.
TRIVIAL PURSUIT: Collins served six years in the Royal Marines, which included two tours of Afghanistan.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Vudu, YouTube
CRITICAL MASS: As of 11/9/18: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Silencer
FINAL RATING: 5/10
NEXT:
 Every Act of Life

Bill Coors: The Will to Live


Bill Coors, Still a silver bullet as a centenarian.

(2017) Documentary (Indie Rights) Bill Coors, Amit Sood, Kieran Goodwin, Quran Squire, Scott Coors, Margo Hamilton, Dr. Scott Shannon, Amie Lee, Graceanne Parks, Tracy Atkins, May Coors, Leon Kelly, Thomas Pauling, John Ortiz, Peter Coors, Rosa Bunn, Herbert Benson, Max Morton, Karl Cordova, Patty Layman, Candice Jones, Brooke Stocks, Elizabeth Archer. Directed by Kerry David

 

Especially these days when it seems like there’s a very real class war going on in this country, we have a tendency to forget that the people in the 1% are just as human as we are. Some of them – a lot of them – are certainly driven by greed and an attempt to not only keep what they have but improve upon it, there are those who have had their share of suffering which has made them very different from those privileged few who cannot have any empathy for those in lesser economic brackets.

The grandfather of William Coors was Adolph Coors who founded the Coors Brewing Company in Golden, Colorado back in 1873. Bill’s dad, Adolph Jr. would inherit the plant from his father who committed suicide in 1929. Bill characterized his father as a stern and exacting disciplinarian who rarely displayed affection to anyone. As a result, Bill had a difficult time showing affection which would later end his first marriage.

Bill was always a success in business; under his stewardship Coors went from being a regional brewery to a national and even global presence; it is the second largest beer company in the United States and the fifth largest in the world. Having come from money, one would think he led a charmed life.

One would be wrong. Depression runs strongly in the Coors family and there were cracks in the facade; his grandfather, the founder of the company, committed suicide in 1929; his daughter did the same in 1983. His older brother Adolph III was murdered in 1960 during a botched kidnapping and his first wife Geraldine died of the effects of alcoholism shortly after they divorced.

Bill also suffered from depression all of his life but it became much more obvious following the death of his brother. He did an enormous amount of research in trying to find a way to overcome his mental health issue. The movie is largely based around an address he gave graduating students of the American Academy of Achievement in 1981; although no video exists of his speech, there is audio of it and it is played throughout the film. In it Bill details some of the critical aspects of overcoming depression and what he calls his eleventh commandment – “Honor Thyself.” He had felt that repeating business platitudes would be of less use and instead delivered an impassioned and highly personal address instead.

That may sound like the dictates of a privileged and entitled generation but in reality it’s a remarkably accurate distillation of what mental health professionals often advise their patients. Bill learned and passed on that in order to love others he must first learn to love himself, something that his unaffectionate father never gave him the tools to do.

Young people, many of them YouTube vloggers, as well as family members, employees, and those close to Bill also chime in with either their own depression stories (musician Amie Lee implores people to communicate when they feel something is wrong) or how Bill has improved their lives.

The main problem here is that the whole thing kind of feels like an infomercial with nothing to sell except Bill’s philosophy of life perhaps. For those who have seen self-help infomercials late at night on cable, this will seem a bit uncomfortably familiar from the music to the way the film is laid out. That does some disservice to the subject who one gets the sense is genuine in his concern for others who like himself suffer from depression.

This is kinda Bill Coors’ story and kinda not. I suspect it was more important to get his message out than to tell his story although he does so mainly to emphasize that it’s possible to beat depression. If you chose to see this documentary, it is unlikely what you expected to see. That in and of itself isn’t a bad thing but it can certainly affect how receptive you are to the message. I think the film would have been better served to take Bill’s name out of the title but perhaps the filmmakers were hoping the Coors name would give potential audiences the impression that this is a film about beer – and who doesn’t want to see a film about beer?

The movie is currently paying in New York City with engagements in Los Angeles, Denver and Seattle in upcoming weeks. It will also be available on VOD starting on November 1st. Check your favorite home video providers for availability.

REASONS TO GO: Coors has a very compelling and occasionally heartbreaking story and his message is a worthy one.
REASONS TO STAY: Plays more than a little bit like an infomercial.
FAMILY VALUES: There are some adult themes here.
TRIVIAL PURSUIT: Coors turned 102 years old shortly before the film was released
CRITICAL MASS: As of 10/9/18: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Good Fortune: The John Paul DeJoria Story
FINAL RATING: 6/10
NEXT:
Pick of the Litter

The Dawn Wall


You can’t beat the view at dawn on the Dawn Wall.

(2017) Documentary (Red Bull/The Orchard) Tommy Caldwell, Kevin Jorgeson, John Long, Mike Caldwell, Beth Rodden, Kelly Cordes, Terry Caldwell, John Dickey, Jason Smith, Matt Jones, Gail Jorgeson, John Branch, Matt Jones, Tom Evans, Becca Pietsch. Directed by Josh Lowell and Peter Mortimer

 

There is a fine line between endeavor and obsession. Sometimes a concept can completely take over our lives to the point of souring relationships, alienating family and forcing us to forsake all other things in service to that one thing, that accomplishment that would make our lives complete. It is hard for outsiders to understand.

Tommy Caldwell is one of the world’s most accomplished free climbers – climbers who eschew devices for anything other than safety reasons. Ascent is accomplished only by using limbs; fingers, toes, heels and sometimes other body parts. It requires insane athleticism, even more insane pain tolerance and the kind of focus that requires rigid discipline and unrivaled preparedness.

For rock climbers like Caldwell, El Capitan in Yosemite National Park is Mecca. The granite monolith towers 3,000 feet above the valley floor. The back of El Cap, as climbers affectionately call it, has trails that lead to the top for those who are less Type A. Most reputable climbers have done several different ascents of the mountain which are some of the most challenging on earth. Of particular note is the Dawn Wall, so called because when dawn breaks in Yosemite the Dawn Wall is the first surface to be lit by the rays of the sun. Nearly completely smooth, there are few places for hands to grip, for feet to gain purchase. Even the most legendary climbers, like John Long (who provides much of the technical commentary here) were certain that the Dawn Wall couldn’t be climbed.

Caldwell is the type of man who if you tell him he can’t do something, he goes right out and does it anyway but this was different and it wasn’t like he hadn’t had his share of challenges. While on a climbing expedition in Kyrgyzstan, he and then-girlfriend Beth Rodden as well as two other climbers were captured by rebel terrorists. After a remarkable escape, they all returned home safely although Tommy was seriously affected by the incident. Shortly after marrying Rodden, he accidentally sliced off half of his left index finger. Any climber will tell you that free climbers rely heavily on the index fingers. For most free climbers that would be a career killer.

However Tommy Caldwell is not most free climbers. He trained his other fingers to pick up the slack and also to utilize  the remainder of that index finger and emerged a better climber. By this time the idea of climbing the Dawn Wall – which no human had ever accomplished – had taken hold. He spent more and more time researching routes of the wall, climbing parts of it, looking for  route that gave him a chance to accomplish the impossible. His obsession and depression proved to be too much for his marriage. Tommy needed a climbing partner to help him ascend the Dawn Wall; he found one in Kevin Jorgeson, a cheerful California boy who was looking for a new challenge after he had become one of the top boulder climbers in the world. Tommy convinced him to dive right into the deep end – the most challenging free climb on Earth. Together, the two men planned and researched and argued and trained until at last they were ready to make history.

The expedition made headlines all over the world when it happened although to be honest I don’t remember much about it. We see network coverage of the time however, reporters calling on Tommy’s cell phone which apparently got service while hanging on the side of a rock. Documenting the attempt were an army of cameramen and riggers, some hanging from the top of El Cap and giving viewers a unique you-are-there experience. We see the bloody hands of the climbers after a day of hanging by their fingers on razor-sharp cracks in the rock.

The views are breathtaking and Caldwell’s story is amazing. Jorgeson gets less coverage by the team but his moment is in facing the most difficult section of the climb – Pitch 15 (the climb was divided into 32 different sections, called pitches) – which Tommy conquered early on but Kevin made attempt after attempt, always losing his grip and falling (safety lines are worn to prevent them from falling to their deaths). As both men grow more frustrated, Tommy decides to continue on further with Kevin acting as support. Kevin is disappointed but when Tommy conquers the last difficult pitch and stands atop Wino Tower, he knows he doesn’t want to hit the summit alone. He makes an extraordinary decision that puzzles veteran climbers but not those who know him best.

As a character study, we get to know bits and pieces of Tommy Caldwell but he is a fairly shy individual so some things are difficult for him to articulate. That’s okay though: this isn’t really about the story of Tommy Caldwell precisely but at the end of the day it’s about the resilience of the human spirit, the need to conquer the unconquerable, to expand our horizons and to make the impossible possible. In this divisive age where the American spirit seems stunted by political tribalism, self-absorption and malaise, we need men like Tommy Caldwell more than ever. The triumph of mountains conquered – whatever shape those mountains take – is within the grasp of all of us who are willing to make the sacrifice to achieve.

REASONS TO GO: The cinematography is absolutely mind-blowing, particularly the footage on the wall. Caldwell’s story is the kind that is too bizarre to be anything but real.
REASONS TO STAY: Caldwell’s obsessive behavior might be too much for some viewers to understand.
FAMILY VALUES: There is some profanity, some disturbing images and dialogue.
TRIVIAL PURSUIT: The Dawn Wall originally made its American premiere at Sundance this year and has also been shown in selected theaters as part of Fathom Events special programming.
CRITICAL MASS: As of 9/23/18: Rotten Tomatoes: 100% positive reviews: Metacritic: 81/100.
COMPARISON SHOPPING: Meru
FINAL RATING: 7/10
NEXT:
Love, Gilda

The Big Take


With Zoe Bell, axe and you will receive.

(2018) Crime Comedy (Archstone) Ebon Moss-Bachrach, James McCaffrey, Dan Hedaya, Oksana Lada, Bill Sage, Zoe Bell, Robert Forster, Slate Holmgren, Tara Westwood, John Enos III, Joslyn Jensen, Taylor Gildersleeve, Nick Daly, Matthew Kehoe, Sean David Morton, M.J. Rodriguez, Sandra Docherty, Sid O’Connell, Donna Mitchell. Directed by Justin Daly

 

It goes without saying that movies that go direct to video are generally of a lesser quality than those that do not. However there are exceptions and The Big Take, a crime comedy that is the first feature for writer-director Justin Daly, is one of those.

Faded movie star Douglas Brown (McCaffrey) is plotting his comeback, although a bitter divorce has led him to put all his assets into a bank in Panama to keep them from his vindictive ex. At an exclusive club in West Hollywood, he is accosted by barback Vic Venitos (Holmgren) who pushes a friend’s script called The Night of the Fire on the aging actor but Brown dismisses him in a manner that gives the impression that the movie star is quite the jerk.

Vic doctors one of Brown’s drinks and the actor is forced to make an exit but not before collapsing in a stairwell where an aggressive transgender (Rodriguez) apparently rapes him in a moment of transphobia that may cause those sensitive to such things to squirm (NB: although the incident is never shown, it is intimated that something sexual is happening and while it’s possible that the transgender in question was doing something else awful to Brown most audience members are going to think “rape”). Venitos then arranges to blackmail Brown into financing his film, but in typical neophyte fashion messes it up and writes the blackmail note on the back of the script which includes the writer’s name – Max O’Leary (Moss-Bachrach) – and address.

Brown’s hard-nosed agent Jack Girardi (Sage) puts ex-cop fixer Frank Manascalpo (Hedaya) on the case to retrieve the hard drive that Venitos stole from the club with the original security camera footage of Brown’s moment but the screenwriter’s Ukrainian wife Oksana (Lada) turns out to be pretty competent in hand-to-hand combat and gets the better of Manascalpo who then resorts to hiring nuclear deterrent Edie (Bell), who has a violent temper and a burning desire to be an astronaut and that’s when things get rapidly out of control.

I generally don’t have very high expectations for direct-to-video projects but the cast list should give you a clue as to the higher quality than normal of this one. I’m always happy to see Bell onscreen; not only is she a great action star, she also brings a certain sparkle to every role she inhabits. Forster is one of my favorite character actors as well and his world-weary cop here is a specialty of his. Hedaya is unfortunately far less visible than he was say 20 years ago but he still has the greasy screen presence he’s always had. Moss-Bachrach is essentially the star here; Max is blissfully ignorant of his producer’s machinations and doesn’t understand why his star is sending thugs to his house. Moss-Bachrach (who is credited here without the hyphen) has a bit of a nebbish quality to him but is likable enough to pull it off.

There is a bit of a noir-ish tone here but with a sly wink towards Robert Altman’s The Player and Elmore Leonard. In fact, I wouldn’t have been surprised to find out that this was based on a Leonard novel (it wasn’t) which is pretty high praise. One gets the sense that the same frustrations that Max and Vic feel are frustrations that Daly is no stranger to.

There are some missteps. The soundtrack is less than scintillating with an over-reliance on Trojan ska (Oksana’s character loves to gyrate to the island riddim) and worse industrial club fare which actually detracts from the film. It’s a given that a low-budget film isn’t going to be able to afford the best soundtrack but I’ve seen plenty of films of comparable budgets that have managed to fill their soundtrack with wonderful songs. It’s a shame they didn’t put more time and effort into finding some for this film. Also, these type of caper comedies need to move at a breakneck pace to be effective; this one is a bit too laid-back and as a result doesn’t have the energy it really needs to be truly memorable.

Nonetheless this is a reasonably entertaining crime comedy that doesn’t waste the viewer’s time and while there is some room for improvement, I was pleasantly surprised and can give this a solid recommendation. I could only find a couple of outlets where it’s currently available but Sony’s home video arm is behind it so I wouldn’t be surprised to find it all over the place in the near future. New York City readers can also catch it at the Cinema Village for a brief theatrical run as well but I would suggest you get out to see it quickly; it’s not likely to remain in theaters long.

Editor’s note: The style of music on the soundtrack was misidentified as reggae and has been corrected. Also, at the director’s request, it is pointed out that whatever violation of Douglas Brown occurs is not explicitly shown so that it is possible that the incident is something other than sexual assault.

REASONS TO GO: The movie is surprisingly entertaining. The cast does a strong job.
REASONS TO STAY: The soundtrack is more than a little weak. The energy is a little too low-key for the genre.
FAMILY VALUES: There is plenty of violence and profanity, some brief drug use and brief nudity.
TRIVIAL PURSUIT: Daly is the grandson of the legendary Ingrid Bergman and nephew of Isabella Rossellini.
BEYOND THE THEATERS: Amazon, Vudu
CRITICAL MASS: As of 9/9/18: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Get Shorty
FINAL RATING: 6.5/10
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Rampage