Bikini Moon


The frank stare of madness is unblinking.

(2017) Mockumentary (Flix Premiere) Condola Rashad, Sarah Goldberg, Will Janowitz, Sathya Sridharan, Mykal-Michelle Harris, Chukwudi Iwuji, Scott Martin, Irungu Mutu, Lauren Lim Jackson, Alyssa Cheatham, Irma Estella La Guerre, Jeremy Rafal, Brian Sills, Roland Sands Cliff Moylan, Lisa Lakatos, Gemma Forbes, Jeannine Kaspar, Danielle Kelsey. Directed by Milcho Manchevski

 

Mockumetaries – fake documentaries which are actually scripted films – are one of those genres that are truly hit or miss. Sometimes they’re played for comedy, as in This is Spinal Tap while other times they’re played straight as in…well, most found footage films like the Paranormal Activity series. This movie is one of the latter.

A documentary crew led by ambitious but obsessive Trevor (Janowitz) and his mousy girlfriend Kate (Goldberg) are filming at a New York City housing office when they are struck by Bikini (Rashad), an Iraqi war veteran who clearly has some emotional and mental problems and decide to focus on her instead. Unable to secure government housing, the couple spends the night trying to find her an apartment that will get her off the streets. The landlord who agrees over the phone to take her in suddenly changes his mind when he sees the film crew but Bikini gives him oral sex and that seems to satisfy things…but as will become her modus operandi she will mess things up for herself when she stops taking her medication. You can usually tell shes having issues when she starts blathering on about the wonderful creatures that are the praying mantis. That figures into things fairly heavily late in the game.

With their subject back on the street, the couple brings Bikini into their own home that Kate inherited from her mom. It doesn’t take a genius to figure out that things will end in tears and they literally do. In fact, pretty much everything does, from Bikini’s attempts to regain custody of her daughter Ashley (Harris) to her friendship with Kate and Trevor. And when the rest of the crew tries to finish the film in order to at least recoup some sort of payment for all their time and effort, things take a turn that nobody will see coming.

The first half of the film is enthralling, largely due to the efforts of Rashad who is absolutely brilliant. She has been seen in such things as the Showtime series Billions but she is clearly ready to take on major roles in important films. She never overplays the crazy until she needs to but her performance is raw and believable. The first half of the film is riveting and unforgettable.

Then comes the second half which not only goes off the rails, it proposes that there were never any rails to begin with. The more Bikini does to sabotage her situation, the more unbelievable everyone around her acts. Kate is the poster child for white guilt and Trevor is an absolute douchebag as we eventually discover but at some point someone would say “I’m not dealing with this crap anymore” and walk away.

One of the things the movie does successfully is look at the artificiality of some documentaries where scenes are staged and rehearsed rather than capturing the reality of the situation. We also see how the presence of a film crew can change the situation. It’s a bit of a Catch 22 – damned if you do, damned if you don’t – and while it’s not directly addressed Manchevski gives you the situation and lets you go from there. That shows a great deal of respect for his audience and had he continued down this route this could have been an absolutely amazing film.

Sadly, he chooses to go down the path of weirdness and as things spiral into an ending that the rest of the movie doesn’t hint at and to be frank doesn’t earn, the viewer will not only be taken straight out of the film which appeared to have something to say at first and likely, as I did, get incredibly angry at the filmmaker who went to the trouble of sending a message and then spoiling whatever good will he had developed with an absolute train wreck of an ending.

Basically there are two films here; one very good, the other a waste of time. I would recommend that you watch the first half and after Trevor and Kate go their separate ways just turn off the movie or walk out of the theater. Of course, the curious will want to see this all the way to the end but I’m here to tell you it’s not worth it. See the first half, skip the second. You’ve been warned.

REASONS TO GO: Rashad is a real talent with a bright future.
REASONS TO STAY: The movie drags a little at the end with an out-of-left-field ending that it hasn’t earned.
FAMILY VALUES: There is a bunch of profanity, some violence, nudity, sexual content and disturbing content.
TRIVIAL PURSUIT: Condola Rashad is the daughter of Phylicia and Ahmad Rashad.
CRITICAL MASS: As of 10/17/18: Rotten Tomatoes: 50% positive reviews. Metacritic: 57/100
COMPARISON SHOPPING: The Lobster
FINAL RATING: 6/10
NEXT:
The Oath

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Gone


Amanda Seyfried wants to have a talk with her agent.

Amanda Seyfried wants to have a talk with her agent.

(2012) Thriller (Summit) Amanda Seyfried, Daniel Sunjata, Jennifer Carpenter, Sebastian Stan, Wes Bentley, Nick Searcy, Socratis Otto, Emily Wickersham, Joel David Moore, Katherine Moennig, Michael Pare, Sam Upton, Ted Rooney, Erin Carufel, Amy Lawhorn, Susan Hess Logeias, Jeanine Jackson, Blaine Palmer, Victor Morris, Ted Cole, Tracy Pacana, Madison Wray. Directed by Heitor Dhalia

Woman Power

The thought of being kidnapped by a serial killer, thrown in a hole and being left there, waiting to die, is something most of us don’t really even consider. The thought of escaping that hole only to have nobody believe you that the ordeal was real is unimaginable.

But Jill (Seyfried) more than imagines it; this is what her life is. She’s certain that there is a serial killer out there, who has dug a large hole in Portland’s Forest Park, some 5100 acres of heavily wooded land in Oregon’s largest city. The police haven’t been able to find any hole, any trace that there are missing women buried there. Jill has a history of alcoholism and mental breakdowns; when her parents died some years earlier she was briefly institutionalized. She is so insistent that this horrible ordeal happened to her that eventually she is sent back to the hospital for evaluation.

A year afterwards, she is still obsessed with it, although less obviously. She works third shift at a diner as a waitress, about the only job she can get given her background. At night she patrols Forest Park, looking for the place she was taken to. She has been operating on a meticulous grid-by-grid method of searching, marking off each grid with a red pen but she still has a long way to go.

After a night of searching the park she returns home to wake up her sister Molly (Wickersham) who wanted to get up early to study for an exam she had  later that day, only to find her bed empty. Jill checks with Molly’s boyfriend Billy (Stan) who informs her that Molly didn’t spend the night, then later on he tells her that she didn’t show up for the exam. Jill gets a bad feeling about the whole thing, and goes to the police.

The cops who had worked her case, Lt. Bozeman (Pare), Sgt. Powers (Sunjata) and Detective Lonsdale (Moennig) are all skeptical, given Jill’s history. They dismiss her claims, looking for reasons that Jill might not have gone to her test, and all of them think this whole scenario is going on inside Jill’s head. Only the newest homicide detective, Peter Hood (Bentley) believes her.

Knowing that she won’t get help through official sources, Jill is bound and determined to find Molly on her own and will do anything, break any law to find her sister who is the only family she has left. She’ll lie, cheat and steal – and if she finds the man who has her, kill – to get her sister back.

This is the kind of movie that should have everything going for it; Seyfried is an extremely underrated actress who shows here that she can take on roles like this and make them work. There’s also the Brazilian director Dhalia who is best known in this country for Adrift and has made some fine films in his native land. Then there’s Portland itself, one of those cities that should have more films made there; it is certainly underutilized.

Seyfried is terrific here. This is the kind of role that is often overplayed and the lead character can go from insistent and focused to shrill and unlikable in an instant. Jill is certainly not without her demons but who among us wouldn’t do the things she does to save a sister? Certainly not me. If Jill is on the ragged edge, it is very understandable and Seyfried makes her actually likable, even in her worst moments. It’s marvelous work and shows that Seyfried is a versatile performer who can do drama, comedy and musicals, all of which she’s done notably in the past.

Now for the bad news; the studio seems to have interfered a good deal on this project, insisting that the movie get a PG-13 rating (the director apparently thought it should be R rated) and made Dhalia’s life so miserable to the point that he considered taking his name off the project. In this particular case, I think Dhalia was right; the movie would have benefitted from being allowed to go to a harder rating. It needed more edge to it.

Worse still, the writing doesn’t do the role of Jill justice. It’s full of logical holes – for instance, how does a girl working a third shift waitress job at a diner afford to hold on to a beautiful home in a nice neighborhood and send her sister to college?  Since she’s going into the woods by herself anyway, why does the killer need to go to such elaborate lengths to get her into the woods?

But worse still, she has the police doing and saying things no self-respecting police department would ever do. I get that the writer, Allison Burnett, wants to completely isolate Jill and force her to take action on her own which is the crux of the whole movie, but certainly there had to be ways that she could have done it that were more imaginative. And I think the movie would have been more effective as well if the audience were left wondering if the whole thing wasn’t REALLY in Jill’s head, right up to the very end.

Still, the beautiful scenery in and around Portland and especially Seyfried’s performance make this worth a look. Granted, the movie got terrible reviews and I can’t say as I blame some of my colleagues for ripping this film a new one, but I can forgive a lot when you get a performance like Seyfried’s in the kind of role – the thriller hero that takes matters into their own hands – that is more of a traditional male bastion. That alone is worth a look-see.

WHY RENT THIS: Seyfried takes a strong role and runs with it. Pretty cinematography.
WHY RENT SOMETHING ELSE: Lazy writing. Illogical plot.
FAMILY VALUES: There’s plenty of violence and depictions of women being terrorized, sexuality, some drug references and brief harsh language.
TRIVIAL PURSUIT: The hardware store that Jill shops at in the movie is a real hardware store in Portland and at exactly the location that the film shows it to be.
NOTABLE DVD EXTRAS: None listed.
BOX OFFICE PERFORMANCE: $18.1M on an unknown production budget.
SITES TO SEE: Netflix (DVD Rental only). Amazon, VuduiTunes
COMPARISON SHOPPING: Kiss the Girls
FINAL RATING: 5.5/10
NEXT: Woman Power continues!