Synonyms (Synonymes)


Dance like nobody’s watching.

(2019) Dramedy (Kino-LorberTom Mercier, Quentin Dolmaire, Louise Chevilllotte, Urla Hayik, Olivier Loustau, Yehuda Almagor, Gaya Von Schwarze, Gal Amitai, Idan Ashkenazi, Dolev Ohana, Liron Baranes, Erwan Ribard, Yawen Ribard, Iman Amara-Korba, Sébastien Robinet, Damien Carlet, Ron Bitterman, Christophe Paou, Valentine Carette, Catherine Denecy, Léa Drucker. Directed by Nadav Lapid

 

People relocate for a variety of reasons. Sometimes, employment dictates location. In other instances, it is to move closer to family or loved ones. Sometimes, though, it’s to get away from something.

Yoav (Mercier) falls into the latter category. Traumatized by a stint in the Israeli Defense Force, he leaves Israel forever and emigrates to Paris, so bitter at the country of his birth that he refuses to speak Hebrew, even to fellow expats. The thing is, his French is a bit incomplete so in order to help him learn the language he buys himself a French-Hebrew dictionary that he obsessively reads synonyms from in order to increase the depth of his ability to communicate.

When he arrives in Paris, he finds himself in an apartment that is utterly devoid of furniture; it is a beautiful and cavernous apartment but lacks amenities. He gets into the bathtub fully naked intending to enjoy some private time rubbing one out but his efforts are disturbed by noises coming from the other room. Completely naked, he bolts out to find that all his possessions – including all of his clothes – are gone. Naked, he screams for help but nobody is apparently home. He gets into the bathtub and falls asleep, chilled to the bone.

His neighbors Emile (Dolmaire) and Caroline (Chevillotte) find him and take them to their apartment and warm him up. Emile, though much smaller than Yoav, gives him clothes that miraculously fit. They end up serving as tour guides and mentors and both of them are sexually attracted to him. In the meantime, Yoav finds work as a security guard at the Israeli embassy and goes through a series of incidents ranging from the surreal to the odd.

Lapid has a good grasp of the absurd and he utilizes it nicely, such as Yoav’s boss (Loustau) telling him about a regular event in which Jews are matched up in underground fights with neo-Nazis, or the war tales that Yoav spins for the ever-fascinated Emile. Lapid borrows heavily from New Wave cinema, particularly from Godard and some of what he borrows are things he should have left alone. The kinetic camera movement is nice but the ultra-close-ups and whip pans get annoying after a while. It is a definite case of “Look, Ma, I’m Directing” syndrome.

Mercier is a revelation. A fairly new actor, he is an enormous presence and the longer the film goes on, the more engaged the audience becomes with his story. Certainly, there’s an element of the surreal to his story, but it doesn’t warp reality overly much and Mercier in a fish out of water role that could easily devolve into clichés and tropes gives the character a freshness that is engaging. I also liked Chevillotte a good deal and her chemistry with Mercier is palpable but I wish the character had been fleshed out a bit more.

The movie ends on a high note – the final shot is a doozy – so hang in there with the movie which despite it’s excesses actually makes some poignant points about cultural identity and finding yourself in a strange land. This is a solid winner that cinema buffs should keep an eye out for.

REASONS TO SEE: Very literate and intelligently written. Mercier has a ton of presence.
REASONS TO AVOID: Look ma, I’m directing.
FAMILY VALUES: There is graphic nudity, some mild violence and sexual content.
TRIVIAL PURSUIT: The film is loosely based on Lapid’s own experiences emigrating to Paris.
CRITICAL MASS: As of 11/22/19: Rotten Tomatoes: 86% positive reviews: Metacritic: 84/100
COMPARISON SHOPPING: Cairo Time
FINAL RATING: 7.5/10
NEXT:
The First Purge

Mickey and the Bear


The obligatory uncomfortable car ride shot.

(2019) Drama (UtopiaCamila Morrone, James Badge Dale, Calvin Demba, Ben Rosenfield, Rebecca Henderson, Rob Grabow, Gabriel Vega, Katee Ferguson. Directed by Annabelle Attanasio

 

Recently, director Martin Scorsese stirred up an Internet hornet’s nest when he disparaged Marvel films (and their like). He spoke about the films he grew up watching and quite frankly, this one from first-time director Attanasio would be the sort of film that he would dig.

Mickey (Morrone) lives in the small Big Sky town of Anaconda, Montana. Her mother has recently passed away due to cancer; the toxic waste from mining operations there have decimated the population of the town. Mickey’s dad Hank (Dale) is an ex-Marine who came home with a drinking problem, a severe case of PTSD and wild mood swings that his medication isn’t really regulating anymore. Mickey is his sole caregiver and support; she works after school in a taxidermy shop and supplements his veterans benefits with the little income she can make. Hank is chronically unemployed, and an object of pity in the town; he is not only a vet but a widower. He is essentially given a pass for his bad behavior, which is growing steadily worse.

Mickey has a boyfriend, Aron (Rosenfield) who professes undying love for Mickey, but steals her father’s Oxycontin and seems most interested in her female parts than in any other part of her. Mickey is trapped in the small town, unable to leave because her father couldn’t survive without her, but sees any sort of hope for a life of her own slipping away from her.

But there are some bright spots. New kid at school, Wyatt (Demba) – a transfer from the UK – sees potential in her and encourages her to go out and seek it. VA psychiatrist Leslee Watkins (Henderson) takes an interest in her and sees that the situation she’s in is not likely to improve…ever. Mickey is beginning to take tentative steps out of her situation but then her father drags her right back into the nest.

Attanasio is one of the new breed of female directors who not only has something to say but knows how to say it in a compelling manner. It’s hard to believe this is her first feature; it’s even harder to believe that she was only 25 years old when she made this. It’s directed with such assurance that you would think that the person behind the camera had decades of experience in the director’s chair. I’m excited for the future of this young woman.

It doesn’t hurt that she has a pair of actors giving career-defining performances. Dale, a veteran character actor, has never been better. He walks a tightrope between portraying Hank as an utter bastard and an object of pity. Hank is neither; he is prideful and his mood swings can lead to violence. At the same time, there’s just enough charm to allow us to see what he must have been like before he went off to war. This isn’t a textbook PTSD performance; it’s more true to life.

The revelation, however, is Morrone. With a limited resume behind her, there was no reason to believe she had this kind of performance inside her but quite frankly, it’s Oscar-worthy. Mickey is strong and vulnerable; making a terrible decision one moment and standing up for herself the next. She is, in short, a young woman who has seen far too much of life for a girl her age; it has caused her to grow up way too fast, but she is still at the end of the day only 18 years old.

Most of the other performances are strong as well, although Demba looks way too old to be a high school student. The Montana landscape is shown off nicely while the town is basically the working-class kind of place that has been hit particularly hard by the economic hardships that have caused them to embrace outsiders in politics. There’s a quiet desperation in the town that is heartbreaking; elitist liberals would do well to take notice.

Attanasio keeps the mood tense; one never knows when Hank is going to erupt. It’s a slow burn rather than an explosive conclusion. At the end of the day, the only flaw here is that the ending feels a bit more cliché than the rest of the film. Even though the final image of Mickey is hopeful and inspiring, it doesn’t really jive with the tone of the film.

The movie is currently playing in New York and opening in Los Angeles later this week; at the end of the month, it will start playing nationwide. Keep an eye out for it; this is a very strong movie that cinephiles should want to experience for themselves.

REASONS TO SEE: While Badge does a good job, Morrone is incredible. Gritty Americana at its finest.
REASONS TO AVOID: The ending is a little too pat, too predictable.
FAMILY VALUES: There’s a good deal of profanity, scenes of drug abuse, some sexual situations and violence.
TRIVIAL PURSUIT: Attanasio is best known as an actress on the CBS drama Bull; she left the show following the third season in order to shoot this movie, her directorial debut.
CRITICAL MASS: As of 11/19/19: Rotten Tomatoes: 100% positive reviews: Metacritic: 76/100.
COMPARISON SHOPPING: Princess of the Row
FINAL RATING: 7.5/10
NEXT:
Jim and Andy: The Great Beyond

The Guernsey Literary & Potato Peel Pie Society


Wheels keep on turning.

(2018) Drama (NetflixLily James, Michael Huisman, Jessica Brown Findlay, Glen Powell, Matthew Goode, Tom Courtnay, Katherine Parkinson, Clive Merrison, Bernice Stegers, Penelope Wilton, Kit Connor, Bronagh Gallagher, Florence Keen, Andy Gathergood, Nicolo Pasetti, Marek Oravec, Jack Morris, Stephanie Schonfeld, Pippa Rathbone, Rachel Olivant, Emily Patrick. Directed by Mike Newell

 

In 1946, England was still picking itself up and dusting itself off after the war. In London, the ruin of the Blitz was still very much in evidence and while there was an attitude of starting fresh, the pain and horror of the war wasn’t far from the surface.

Author Juliet Ashton (James) is making a tidy amount off of plucky war-set stories that are popular but bring her no intellectual satisfaction. A fan letter from a book club in picturesque Guernsey, a Channel Island that had been occupied by the Nazis during the war (a fact that this ignorant American wasn’t aware of) leads her to visit the club to perform a reading. She is captivated by the beauty of the island but even more so by the people, particularly those in the club. Although she is engaged to a flashy American diplomat (Powell), she finds herself drawn to farmer Dawsey Adams (Huisman). She is also drawn to the mystery of Elizabeth McKenna (Findlay), once the heart and soul of the club but whose absence nobody seems to want to talk about.

Mike Newell is one of the UK’s most capable directors with movies such as Four Weddings and a Funeral as well as Harry Potter and the Goblet of Fire, one of the better installments in the franchise, to his credit. He does a marvelous job of evoking the post-war Era and gathering together an even more marvelous cast. James is never more attractive than she is here, and nearly all of the ensemble cast has some wonderful moments, particularly veterans Courtnay and Wilton, particularly Wilton who is much undervalued as an actress. There are sequences here where the raw emotions brought on by survivor’s guilt are communicated without theatrical hysterics. It’s a nuanced and brilliant performance that very nearly steals the show.

The romantic elements of the movie are a bit too sweet, leaving one with an unpleasant taste in the mouth – I truly wish that the plot had revolved more on the tale of Elizabeth McKenna than on the romance between Dawsey Adams and Juliet Ashton which came off like a British period soap opera only less interesting. I can’t not recommend a Mike Newell film however and the strong performances in this one make it a perfect candidate to Netflix and Chill.

REASONS TO SEE: The era is recreated beautifully.
REASONS TO AVOID: Contains more than a little bit of treacle.
FAMILY VALUES: The themes are somewhat adult; there are also some sexual references and occasional mild profanity.
TRIVIAL PURSUIT: James, Findlay, Good and Wilton also have appeared in the hit PBS series Downton Abbey; one of the filming locations for the show also doubled as exteriors for Guernsey (the Charterhouse in cases anyone is keeping score).
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 9/24/19: Rotten Tomatoes: 81% positive reviews: Metacritic: 65/100.
COMPARISON SHOPPING: The Man Who Went Up a Hill & Came Down a Mountain
FINAL RATING: 7/10
NEXT:
Jim Allison: Breakthrough

A Faithful Man (L’homme fidėle)


Sometimes tenderness can be found in a teacup.

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

 

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

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

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

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

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

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

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

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

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

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

Seaside


Victim or villain?

(2018) Suspense (Gravitas VenturesAriana DeBose, Matt Shingledecker, Steffanie Leigh, Sharon Washington, Jana Lee Hamblin, Haley Talbot, Bob Olin, Brandt Leeds, Victoria Blake, Jennie Vaughn, Jennifer Mekanas. Directed by Sam Zalutsky

 

The thing about soap operas is that they aren’t very subtle. They are lots of other things – outrageous, sometimes cheesy, sometimes erotic, often implausible but they generally aren’t boring. Those things work well in the soap opera oeuvre; outside of it, they can be deadly.

Daphne (DeBose) is leading a double life. She lives with her mother Angela (Washington) who is on the cusp of losing their home. Angela is disabled and somewhat broken. Daphne also has a boyfriend, Roger (Shingledecker) who is fabulously wealthy but whose father would disinherit him in a heartbeat if he knew that Roger was dating the daughter of his ex-nanny. Oh, didn’t I mention that Angela used to work for Roger’s dad?

In any case, Daddy dearest soon passes away and Roger isn’t exactly in mourning. Gleeful might be more accurate. He’s virtually rubbing his hands in anticipation of the millions he’s about to inherit and that’s when his dad plays one last cruel prank on his son; he leaves him a beach house on the remote Oregon coast and leaves the cash to any heirs Roger might sire legitimately.

So Daphne and Roger move to the beach house which Daphne keeps secret from Angela. In fact, she kept Roger secret from her mom. But no time for that now – Roger is ready to settle down and tie the knot. Only Daphne is beginning to see some disturbing signs; Roger is drinking more and more heavily and getting more verbally abusive by the day. Susanna (Leigh) shows up and it turns out that she and Roger used to be an item until Susanna got pregnant at which point Roger dropped her off at the local abortion clinic and high-tailed it out of town.

So with Daphne beginning to get more and more unsettled about Roger’s past and more importantly, her own future, Daphne soon begins to show that she’s not so helpless as she led Roger to believe.

This is quite the potboiler and maybe the world needs more of those. Cinematographer Philip A. Anderson tends to keep things in muted colors and the sky looks like there’s always a storm on the way but it never quite arrives. What the movie lacks is dramatic tension; there are plenty of twists and turns as you would expect from a decent thriller, but some strain the boundaries of incredulity and most are of the evil twin variety.

The cast here mainly have stage experience and little in front of the camera and it shows. The acting tends to be pretty broad and overdone. Good film acting requires more subtlety. DeBose shows some real potential as a lead actress, although she is given a fairly thankless role. The more we see of her with feckless Roger who oozes entitlement from every pore, the more we wonder what the hell she sees in him in any case.

I have to admit that there were some moments that worked well in the film but overall it doesn’t have that edge-of-the-seat feel that a good suspense movie generates. I can give it a mild recommendation and it isn’t too hard to find on a variety of streaming choices, but I can’t really say it’s worth the effort to track it down.

REASONS TO SEE: Blanche gives a solid performance.
REASONS TO AVOID: Has a bit of a soap opera feel to it.
FAMILY VALUES: There’s profanity, drug use and some sexual situations here.
TRIVIAL PURSUIT: DeBose ws nominated for a Tony Award for her performance in Summer: The Donna Summer Musical and has been cast as Anita in the upcoming Steven Spielberg remake of West Side Story.
BEYOND THE THEATER: Amazon, iTunes, Vudu
CRITICAL MASS: As of 8/30/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Long Lost
FINAL RATING: 5/10
NEXT:
The Heiresses

Them That Follow


(2019) Documentary (1091) Alice Englert, Walton Goggins, Olivia Colman, Thomas Mann, Lewis Pullman, Jim Gaffigan, Kaitlyn Dever, Dominic Cancelliere, Annie Tedesco, Bradley Gallo, Katherine DeBoer, Brooks Roseberry, Erik Andrews, Connor Daniel Lysholm, Catherine L. Albers, Kami Amore, Chris Breen, Logan Fry, Christine M. Pratt, Ramona Schwalbach. Directed by Britt Poulton and Dan Madison Savage

It is said that faith can move mountains, but in the mountains of Appalachia faith is much more than that. Faith is everything; one’s devotion to God must be absolute. There are no other alternatives. In some rural churches, faith is a life or death equation.

Mara (Englert) is the pretty young daughter of Pentecostal preacher Lemuel Childs (Goggins). Lemuel is part of the snake handler sect which requires his flock to prove their devotion to God by allowing a venomous rattlesnake to be draped around their neck. If the snake leaves them alone, fine; that’s God telling you that your faith is sufficient. However, if the snake elects to sink its fangs into you, you’ll undergo an agonizing slow death unless you can fight off the venom. With the help of friends or family praying away, anyone who succumbs to the snake bite does so due to a lack of faith, not to a lack of medical care which the congregation eschews.

It’s a highly patriarchal society in which women are made to wear ankle length skirts, perform roles of cooking, cleaning and child-rearing and to be absolutely submissive to their husbands. They are not even supposed to drive, making this a kind of Saudi America. If the Muslims hadn’t claimed the burkas first, I wouldn’t be surprised if the women of the congregation were made to wear them.

Mara is at an age where she is ready to be married. Daddy has picked out intense Garret (Pullman), a member of the parish and a true believer. However, Mara is kind of sweet on Augie (Mann), the son of local gas station/market owner Hope (Colman) who is known more commonly as Sister Slaughter. She was a bit of a hellraiser in her youth but her husband Zeke (Gaffigan) has essentially calmed her down. As for Augie, he is anything but a true believer; in fact he’s an atheist. His mother tolerates it pretty much as you tolerate the drunk uncle in the family.

Mara and her good friend Dilly (Devers) are inseparable, especially since Dilly’s mom abandoned her in fleeing the church and community which isn’t especially tolerant of free thinkers, particularly among the women. However, Mara is carrying a secret of her own and when it gets out it could rock the entire community to its core.

The feel here is authentic Appalachia; although the movie was filmed in Ohio it feels more like West Virginia. The gorgeous cinematography from Brett Jurkiewicz helps set that particular mood, as does the set design – Lemuel’s church is in a converted barn with only a neon cross to differentiate it from other barns. The life of the mountain folk here are pretty simple and uncomplicated; there are no television sets and things move at a fairly slow place, like the land the Internet forgot.

In fact, one of the drawbacks to the film is that the pacing is maddeningly slow particularly through the first two thirds of the movie. It does pick up speed towards the end, though so if you can sit through the first hour, you should be golden the rest of the way.

However, there’s still the performances of Goggins and Englert to enjoy; the two of them have a real chemistry and they both embrace their roles with gusto. Colman, who is a recent Oscar-winner, sounds a bit uncomfortable with the Southern accent, but she is solid as well as are Pullman and Mann as Maras two suitors. Gaffigan, a gifted comedy actor, shows off his dramatic chops nicely here.

The movie is largely about how far you are willing to take your faith before it becomes unhealthy. It’s hard not to see comparisons between these cultish Pentecostals and modern Evangelicals who seem to be grabbing the headlines lately. The directors respect the faith of the characters here which is nice to see; too often Hollywood tends to be either dismissive of characters with faith, or in the case of Christian cinema, too proselytizing. Some of the snake scenes are pretty horrible to watch and the sensitive sorts might want to take a pass on it, or at least watch it those scenes with eyes tightly shut and a trusted friend to tell you when to open them up again.

I’m not sure why anyone would think that God requires you to prove your faith by taking a rattlesnake to your breast, but some believe that it is so. The movie isn’t going to give you any answers in that direction but it is going to show you characters with strong faith and strong convictions – not to make them look evil, or backward but if anything to remind us that some good people sometimes believe in things that the rest of us might not understand – or accept.

REASONS TO SEE: The cinematography is gorgeous. Englert and Goggins deliver incendiary performances.
REASONS TO AVOID: Moves at a fairly slow and languid pace.
FAMILY VALUES: There is some mild profanity, an attempted rape and some disturbing violence.
TRIVIAL PURSUIT: Lewis Pullman is the son of actor Bill Pullman who memorably played the President in Independence Day and its sequel.
CRITICAL MASS: As of 8/12/19: Rotten Tomatoes: 63% positive reviews: Metacritic: 56/100
COMPARISON SHOPPING: Apostle
FINAL RATING: 7/10
NEXT:
ZZ Top: That Lil’ Ole Band from Texas

London Fields


There is nothing like a dame – take it from me!

(2018) Mystery (Paladin/Atlas) Billy Bob Thornton, Amber Heard, Theo James, Jim Sturgess, Cara Delevingne, Gemma Chan, Jamie Alexander, Jason Isaacs, Lily Cole, Henry Garrett, Jennifer Missoni, Alexandra Evans, Michael Shaeffer, Belle Williams, Emily Kincaid, Triana Terry, Hon Ping Tang, Chris Wilson, Chris Ryman, Rita McDonald Damper. Directed by Matthew Cullen

 

For my money, Martin Amis is one of the most gifted and interesting novelists in the world today. He has a way with words and imagery that few authors can match. He has a very cinematic style but oddly, the movies made based on his works have not exactly lit the world on fire.

This one won’t either. Nicola Six (Heard) is a woman with the kind of gift that you just wish you could take back; she knows when she’s going to die. She knows how she’s going to die (she’ll be murdered). She even knows where she’s going to die (in a London alleyway inside a car). She just doesn’t know who. Terminally ill writer Samson Young (Thornton) has done a home exchange with bestselling author Mark Asprey (Isaacs) who wants to get the flavor of Hell’s Kitchen from Samson’s grungy apartment. In the meantime Samson is hoping that his years-long writer’s block can be broken by a change of scenery and when he hears Nicola’s story, he knows he’s the man to write it.

Nicola has narrowed the “who” part of the equation to two men who both have romantic inclinations towards her; the coarse and amoral South End darts champion Keith Talent (Sturgess) who sees Nicola as a trollop and a sex toy that is his rightful due, and Guy Clinch (James), a posh and married industrialist who has money and the world’s most nightmarish kid. One of them is going to kill Nicola. Who will it be? And will they do it in time for Samson to get the whole thing down on paper before he cashes in himself?

The movie has all the elements of a great Amis novel – the whiz-bang satire, the noir overtones, the almost cartoonish characters with outlandish names – but it doesn’t have the energy nor does it have the inspiration. First-time feature director Cullen (known for having done Katy Perry videos, among others) inserts bizarre juxtaposing images throughout the movie which rather than enhance the flow of the story or set the viewer to thinking simply just takes them out of the movie and irritates them. I can’t tell you how many times I started reaching for the “off” switch before deciding to give the movie a second chance. To be fair to Cullen however it is likely that most of those images were inserted by the producers after the fact and against his wishes. Either way, they are deal killers.

That’s a shame because I was excited that this kind of cast (which includes Johnny Depp in an uncredited role as a gangster and rival darts champion for Gary) would be working on an adaptation of an Amis novel. While Thornton is always an interesting performer, the others either feel zombie-like (Heard) or over-the-top to the point where it approaches self-parody (Sturgess). The narration, which is meant to give the film a noir-like tone clashes with the British gangster movie that Cullen appears to be attempting to make. I think that the director had an idea in mind but I’m just not sure he executed it very well.

This was filmed more than three years ago and has been beset by legal issues and an ability to secure distribution until recently. There are some things worth checking out but really the only thing one could hope for from this disappointment of a movie is that it might motivate those inclined to be readers to maybe pick up the source material by Amis and give it a read. That would be a far more fulfilling use of their time.

REASONS TO GO: Billy Bob Thornton is a national treasure.
REASONS TO STAY: There is a whole lot of unnecessary surrealism.
FAMILY VALUES: There is some nudity, a little violence and drug use, and a whole lot of profanity and smoking.
TRIVIAL PURSUIT: The director sued the producers and the production company after alterations were made to the film that he hadn’t authorized.
CRITICAL MASS: As of 10/22/18: Rotten Tomatoes: 0% positive reviews. Metacritic: 26/100.
COMPARISON SHOPPING: Trouble is My Business
FINAL RATING: 5/10
NEXT:
Don’t Go