The Last Color


Being a woman in India is walking the tightrope between tradition and equality.

(2019) Drama (Saffron PenNeena Gupta, Aqsa Siddiqui, Budrani Chhetri, Rajeshwar Khanna, Aslam Sheikh. Directed by Vikas Khanna

 

India has an amazing culture with much to admire about it. One of the things that is an exception is in the way that women are treated, particularly widows and orphans. In many ways, Indian society is downright repressive to those who have few advocates.

Noor Saxena is one such advocate. A lawyer, she has wrangled a decision from India’s highest court that grants rights to widows that they have not had for centuries. In Indian tradition, widows only wear white. They live lives devoid of color – they are forbidden from taking part in the Holi festival that celebrates the oncoming of spring. You may know it as the one where people throw colored powders at one another in a frenzy of joyful fun. Widows don’t get to take part in that.

Chhoti (Siddiqui) is a street rat living in the slums of Benares, a Hindu holy city along the Ganges. She makes money by doing a tightrope act and selling flowers in the streets. She hopes one day to earn enough to go to school and rise above her station. She befriends 70-year-old Noor (Gupta), a widow living in an ashram for widows who live lives of colorless and passionless reflection. As with most widows, her life is expected to be over when her husband dies; her body is just walking around until she can join him.

Chhoti also hangs out with Chintu (R. Khanna), a fellow orphan who aids her in her high wire act. The two dodge police officers trying to make enough to survive. They are aided by transgender woman Anarkali (Chhetri) who supports herself as a sex worker, mainly catering to brutal men like Raja (Sheikh), an ill-tempered cop who sees himself as king of his little part of the world. He is doubly frustrated because his wife not only hasn’t given him a son (only daughters) but she refuses to bathe in a sacred pool which would guarantee the birth of a strapping young son. He passes through the world as kind of a rage junkie, always looking for a reason to cause pain.

Still, Chhoti never fails to stand up for herself and with Noor guiding her and pushing her to be better than her lot, she falls under the vengeful gaze of Raja, particularly after she witnesses the evil cop doing something particularly heinous, something that could get him thrown in jail. Will Noor defy tradition and stand with her friend?

The movie looks at cultural attitudes towards women in general and the more marginalized women – transgenders, widows and “untouchables” in particular – and the traditions that keep them down. First-time director Vikas Khanna has a wonderful eye for color; the movie is gorgeous to look at even in its occasional brutality and squalor.

Gupta also gives Noor a ton of dignity and gravitas, perhaps more than the movie deserves. It sometimes seems to move at a very deliberate pace which can be maddening; hammering us over the head with how widows and orphans are treated might get the point across but it also at times feels like we’re being talked down to. When you’re trying to deliver a message with your movie, that’s a pitfall you want to avoid.

Still, there is a lot here that is worth checking out. The movie had a brief Los Angeles run and may yet make some appearances elsewhere; there may even be a VOD slot in its future although nothing official has been announced as of yet. Either way, this is worth keeping an eye out for.

REASONS TO SEE: Wonderful use of color throughout the film.
REASONS TO AVOID: Rather slow-moving.
FAMILY VALUES: There is violence, particularly of the domestic sort; also, sexual situations and adult themes.
TRIVIAL PURSUIT: Khanna is best-known as a James Beard award-winning chef. The film is based on a novel that he wrote decrying the state of women’s rights in his home country.
CRITICAL MASS: As of 12/7/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Lipstick Under My Burkha
FINAL RATING: 6.5/10
NEXT:
Klaus

The First Purge


Viewers can now binge the Purge.

(2018) Thriller (Universal/BlumhouseY’lan Noel, Lex Scott Davis, Joivan Wade, Mugga, Patch Darragh, Marisa Tomei, Luna Lauren Velez, Kristen Solis, Rotimi Paul, Mo McRae, Jermel Howard, Siya, Christian Robinson, Steve Harris, Derek Basco, D.K. Bowser, Mitchell Edwards, Maria Rivera, Chyna Layne, Ian Blackman, Melonie Diaz. Directed by Gerard McMurray

 

The Purge series posits a somewhat fascist American government creating a 12=hour period annually during which all crime is legal, including murder. Those who can afford to leave, do – or they set up their homes as impenetrable fortresses. For the less wealthy, the alternative is to hunker down and ride it out, hoping the crazies won’t find them.

The latest film in the franchise (which has since also added a ten-episode “event” cable TV series, an ad for which appeared mid-credits at the film’s conclusion) goes back to the beginning, when the New Founding Fathers – the only political party standing – have emerged as the de facto rulers after an economic crisis has crippled the United States. Eager to purge the roles of welfare recipients and those getting federal assistance, they enlist a kooky psychiatrist (Tomei) to come up with a plan. The experiment is limited to Staten Island, where the government entices residents to stay by offering $5000 cash if they’ll wear contact lenses mounted with miniaturized cameras, giving everybody’s eyes a bizarre glow.

Nya (Davis) is having none of it. She sees the Purge for what it is – a racist attempt to take out the poor and the dark-skinned. Her ex-boyfriend Dmitri (Noel) is more pragmatic; he’s a drug dealer who is staying only because relocating his product would be too risky. So , with rival dealers seeing the Purge as an opportunity and other segments of the population throwing huge parties, oblivious to the danger that confronts them, and the government sending in hit squads when the violence isn’t enough to capture the imagination of the populous, Nya and Dmitri are going to have a very long night indeed.

There is no doubt that the series is allegorical, accurately predicting America’s turn towards extremism back in 2013 when the series debuted. The MAGA-like hat that decorated the poster was another clue; there’s even a reference to female genital grabbing if that isn’t enough. All in all, I’m not sure if Trump supporters are going to see this as elitist liberalism or a reactionary wet dream and respond accordingly.

The performances of the mostly unknown leads are solid enough and some of the murder scenes are cleverly staged but the movie is absolutely riddled with tropes and stock characters to the point that it becomes depressingly predictable. There are definitely signs that the franchise is losing its steam and doesn’t really have the courage of its convictions any longer. Still, those who appreciated the first three films in the series will likely appreciate this one, although they – like I – may not embrace it as a fitting addition to the franchise.

REASONS TO SEE: Some of the murder sequences are extremely effective.
REASONS TO AVOID: Too many clichés and way too predictable.
FAMILY VALUES: There is a plethora of often disturbing violence, some sexual content, profanity and drug use.
TRIVIAL PURSUIT: This is the first film in the franchise not to be directed by James DeMonaco. Although he did write the screenplay.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Fios, Google Play, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 11/23/19: Rotten Tomatoes: 54% positive reviews: Metacritic: 54//100.
COMPARISON SHOPPING: Assault on Precinct 13
FINAL RATING: 5/10
NEXT:
A Reindeer’s Journey

Method of Murder


In the desert where you can bury your bodies …or not.

(2017) Documentary (Vision) Jacky Rom, Tommy McDonald, Junior Rubio, Arianna Black, Mason Pollack, Jamie Wilson, Sarah Cass, Cash Kasper, Norm Thom, Derek Stevens, John Fiato, Jenny Brown, Vivien Karp, Joseph Charfauros, Sandy Karp, Larry Hess Lyle Rivero, Marco Antonio, Keith Evans, Kristin Whittemore, Isabelle Mondelaers. Directed by Elliot Manarin

 

How do you kill a person and get away with it? In this era of forensic experts, security cameras and digital footprints, it’s harder than ever – and it was never easy. For most of us, it’s an academic question, something that leads us to watching TV crime shows or reading murder mysteries.

For British crime novelist Jacky Rom however, it’s a whole lot more than idle speculation – it’s a living. The author of best-selling novel From Makeup to Murder, she was hard at work on the follow-up From Vegas to Villainy and needed some ideas on how to do the deed, so to speak. Being the kind of plucky sort who isn’t afraid to get her hands dirty, she heads out to Los Angeles and Las Vegas to figure out how she was going to commit the perfect crime – in a literary sense.

In this hour-long documentary, Rom interviews tattoo artists, photographers, magicians, make-up specialists, lion tamers, archers, casino security experts and firearm specialists. For the most part everything is handled in a fun, lighthearted manner. Rom is endlessly cheerful and comes off like a Brit combining work and vacation, but there are some serious moments. She is visibly affected when she fires a handgun; the recoil establishes just how powerful a weapon it is and just how easy it is to kill someone with it. For a few moments, the crime author seems to be empathizing more with the victims than the investigators.

She seems to have an inventive mind as one of the methods she devises is pure genius if impractical. However, sadly, most of the methods she investigates are pretty run-of-the-mill – I suppose she wanted to keep her best ideas for her book and I could hardly blame her. As it turns out, having lions dispose of the remains of her victim turns out to be a bad idea. When she looks into burying a body in the desert, she discovers it is a whole lot harder than it sounds.

I don’t think this is going to give anyone with criminal intent any nefarious ideas but it is a bit of a lark, even if it moves slowly occasionally. Rom is an engaging personality and I wouldn’t mind spending an hour with her normally but after awhile this begins to feel like one of those British travel documentaries that has an offbeat, morbid bent.

REASONS TO SEE: The concept is fascinating albeit morbid.
REASONS TO AVOID: The movie is fairly vanilla and unimaginative.
FAMILY VALUES: Although presented in a lighthearted manner, some of the subject here is adult in nature thematically speaking.
TRIVIAL PURSUIT: In addition to being a crime novelist, Rom also is a radio hostess in the UK.
BEYOND THE THEATER: Amazon, Fandango Now, Microsoft, Vimeo, Vudu
CRITICAL MASS: As of 7/30/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: How to Commit the Perfect Murder
FINAL RATING: 5/10
NEXT:
The Farewell

Avengers: Infinity War


The latest Avengers movie, starring…everyone. Heck, you’re probably in it too!

(2018) Superhero (Disney/Marvel) Robert Downey Jr., Chris Pratt, Chris Evans, Chris Hemsworth, Zoe Saldana, Chadwick Boseman, Scarlett Johansson, Mark Ruffalo, Josh Brolin, Karen Gillan, Tom Hiddleston, Tom Holland, Don Cheadle, Benedict Cumberbatch, Paul Bettany, Elizabeth Olsen, Idris Elba, Danai Gurira, Anthony Mackie, Sebastian Stan, Peter Dinklage, Benedict Wong, Pom Klementieff and a cast of thousands. Directed by Anthony and Joe Russo

 

This is to date the biggest and most epic Marvel movie ever – until the next untitled Avengers movie, filmed concurrently with this one and scheduled for release in May 2019.

The mad Titan Thanos, seeing that the Universe is dreadfully out of balance, believes that he has a solution that will restore balance: to kill half of the entire population of the universe at random. There’s no practical way to do that so he has to do something that has never been done – he must retrieve all six of the Infinity Stones, gems created by the Big Bang and each with control of a different aspect of the universe – space, time, the mind, the soul, and so on.

Of course, the superheroes all oppose this plan and they come from all over – nearly every Marvel movie preceding this one is represented here from the spacefaring Guardians of the Galaxy to the high tech Black Panther and of course the various and sundry Avengers films. It’s a colossal undertaking and quite frankly I didn’t expect them to pull it off. There are an awful lot of characters here and a lot of them really don’t get much screen time.

Thanos (Brolin) gets a ton of screen time and it’s no joke the best portrayal of a comic book villain since Heath Ledger won an Oscar for playing one. Thanos is truly the Big Bad of the Marvel Universe and while the heroes valiantly take him on, things don’t look too good. It’s an epic tale that is taking two movies to tell.

The action is as you’d expect spectacular and the effects seamless. There are even some poignant moments, most of them occurring in the last twenty minutes of the film. Who knew that Marvel knows pathos? In any case, this is an emotional rollercoaster that every Marvel fan is going to be overjoyed to take – even the usually hard-to-impress fanboys have been singing the praises of this one.

Yes, I realize you’ve probably already seen it and if you haven’t you likely aren’t going to and frankly you’re probably not reading this review in that case. So you’ve seen it. Maybe you’ve already purchased a digital copy (the Blu-Ray and DVD editions were just released) and likely you’ll be getting one of those. This isn’t the best Marvel movie yet but it’s damn close.

REASONS TO GO: Brolin gives a game-changing performance as Thanos. The action is non-stop and without peer. There are some very poignant moments.
REASONS TO STAY: There are too many characters to keep track of.
FAMILY VALUES: There is nearly non-stop sci-fi/superhero action and violence, some crude references and some scenes with disturbing content.
TRIVIAL PURSUIT: At the beginning of the film, the distress call from the Asgardian ship is the voice of Kenneth Branagh, the director of the first Thor film.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Microsoft, Movies Anywhere, Vudu, YouTube
CRITICAL MASS: As of 8/15/18: Rotten Tomatoes: 83% positive reviews. Metacritic: 68/100.
COMPARISON SHOPPING: Captain America: Civil War
FINAL RATING: 8.5/10
NEXT:
Songwriter

The Depths


Men love to manspliain even to other men.

(2017) Drama (Valor) Patch Darragh, Michael Rispoli, Charlotte Kirk, Michelle Ventimilla, Gia Crovatin, Anthony LoCascio, Hampton Fluker, Suzette Gunn, Michael Sorvino, Jennifer Bassey, Lucas Salvagno, Jesse R. Tendler, Randy DeOrio, Wally Marzano-Lesnevich, Leon Gonzalez, Alexander C. Mulzac, Tom Coughllin, Chuck Obasi, Peter Barkouras, Lisa LoCascio. Directed by Jamison M. LoCascio

 

Sometimes in order to be a successful writer you have to go somewhere you wouldn’t necessarily or even want to. You have to explore places that might be abhorrent to you, think thoughts that are alien to you and become people you don’t want to be. Sometimes, to write a great screenplay you have to plumb the depths.

Ray (Rispoli) and Mickey (Darragh) are best friends and aspiring screenwriters. They have been working two years on a screenplay about a pair of brothers who become killers; one repelled by it, the other becoming addicted to it. It seems like a swell idea and they take their completed masterpiece to a powerful producer but he passes on it, advising the two aspiring Oscar winners to “write what they know.”

Ray takes this to heart, arranging for him and Mickey to go on a call with a homicide detective. Mickey though thinks that scrapping the script and starting from scratch is the way to go. The two men get into a disagreement about the direction they want their script to go. The bad blood is fueled by Mickey becoming friendly with Chloe (Kirk), a prostitute who Ray had been seeing but whose relationship had been falling apart because of Ray’s jealousy and combative personality.

Mickey gets fired from his job at a hardware store because he is consistently late (having to do very much with his inclination to party) and decides to go full bore writing his own version of the script. He also gets addicted to cocaine, which is not a good idea when you’re unemployed. With Ray working on his own script, Mickey has faith in his writing skills and creative ideas (which he has a notebook to jot them down in) and believes his script will be the better of the two…until he finds that his precious notebook has been stolen. Things are bound to get ugly from there.

This was the first full-length feature by writer-director-producer LoCascio who also helmed this year’s Sunset. This outing is dramatically different in tone and construction; it’s nice to know that LoCascio isn’t a one-trick pony. There is almost a noir-ish feel to the film although in many ways it’s more street-gritty, sort of like what noir would be if it had been started forty years later.

Although the main cast aren’t household names, they are solid actors all with some strong resumes behind them. Darragh (Sully, Boardwalk Empire) does a good job as Mickey who starts off as a sweet screw-up and gradually sinks into an abyss of coke-fueled paranoia. Rispoli (Kick-Ass, The Rum Diary) goes from being the heavy to being sympathetic. He’s the most Noo Yawk of the two which fits the grittiness of the film to a “T.” Kirk (Vice, Oceans 8) is not only breathtakingly beautiful but also has the right amount of world-weariness and vulnerability to make the brassy Chloe more than just a stereotype.

The last third, as Mickey sinks further and further into delusional behavior becomes a bit more cliché than the rest of the film which is understandable but still drags the overall rating down a tad. The film also shows its minuscule budget pretty obviously, with only a handful of sets but it must be said that LoCascio manages to do a lot with a little. Nonetheless this is the kind of first feature that any director would be proud to have, and with those two films under his belt I think we can expect a lot more from him in the future.

REASONS TO GO: The film is marked by good performances and a strong story.
REASONS TO STAY: The story loses a little cohesion towards the end.
FAMILY VALUES: There is profanity, drug use, disturbing images, violence, partial nudity and sexual content.
TRIVIAL PURSUIT: The film won Best Narrative Feature at the Manhattan Film Festival in 2017.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 7/24/18: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Nightcrawler
FINAL RATING: 6.5/10
NEXT:
 Ready Player One

Liverleaf (Misumisô)


The phrase “pure as the driven snow” doesn’t apply here.

(2018) Horror (T-Joy) Anna Yomada, Hiroya Shimizu, Rinka Ôtani, Rena Ôtsuka, Kenshin Endô, Masato Endô, Kazuki Ōtomo, Masahiro Toda, Seina Nakata, Minori Terada, Ayaka Konno, Arisa Sakura, Reiko Kataoka, Aki Morita, Sena Tamayori. Directed by Eisuke Naitô

Bullying is sadly not an unusual thing, whether in American  high schools or Japanese ones. There always seems to be a human urge for the strong to prey on the weak.

Haruka Nozaki (Yomada) falls into the latter category. A transfer into a small rural middle school from a larger city, she doesn’t fit in and is preyed upon mercilessly by a gaggle of girls led by the diffident Queen Bee Taeko (Ôtani) who for a short while was friends with Nozaki. Now, she gives tacit approval to her followers in making the life of Nozaki a living hell.

Things start off typically; knocking her book bag out of her hands, throwing her shoes in a mud pit, knocking her into the mud-type things. Then things begin to escalate; a dead crow is put in her locker and she is jabbed with needles. Her mother (Kataoka) and father (Toda) have a meeting with Nozaki’s teacher (Morita) who is strangely cowed by the other students; they call her “vomit teacher” because she throws up when the misbehaving gets extreme. In any case, the teacher informs the parents that the school is closing at the end of the term and there’s no sense in opening up a can of worms. Nozaki’s parents take the extraordinary step of keeping their daughter home from school.

Infuriated, the bullies send Rumi (Ôtsuka) – a girl with a stammer who would be next on the list to get their full attention – to get Nozaki back to school but Nozaki knows all too well that things will end badly for her if she goes to school, so she declines. Rumi, wanting to fit in with the ugly bully crowd, professes that she wants Nozaki to die. Some of the boys in the group decide to see how serious she is. In the meantime, Nozaki has a friend in Aiba (Shimizu) who is more than a little interested in photography and is, like Nozaki, a transfer student. He lives, for some unexplained reason, with his grandmother.

But Nozaki’s refusal causes things to spin completely out of control from there as the bullies go way, way, way over the line. Tragedy results and Nozaki is left a shell of herself, a ghost floating in the winter snow. Even then the bullies won’t leave well enough alone and Nozaki finally stands up for herself – and she’s holding a knife when she does.

The film, based on an ultraviolent manga, is the latest teen bully horror film from Naitô who has already directed a couple of movies with comparable themes. Some critics have labeled this a revenge film and I’m not really sure if that’s accurate; certainly Nozaki’s actions later in the film could be construed as seeking vengeance but I get more of a sense that it is self-preservation she’s after. She’s pushed to a wall and like any cornered animal, fights her way out.

Yomada is excellent as the timid, cringing wallflower turned psycho killer. Her change from one extreme to the other is totally believable and while the gore and mayhem may be somewhat over-the-top, it is a comic book adaptation folks and one would expect an exaggerated amount of violence and bloodshed in that situation. In fact, some of the most brutal scenes in the movie are so beautifully photographed by cinematographer Hidetoshi Shinomiya that you almost feel guilty enjoying the images he captures.

The movie could have used some judicious editing; the climax is a long time coming and when it arrives it’s almost a relief. I was left wishing it had come sooner but again, like most Americans I have the attention span of a loaf of bread. It felt like Naitô was taking a bloody long time to get to where he was going. I haven’t read the manga so I’m not entirely sure how faithful the film is to it but it feels like there was some fat that could have been trimmed.

As scary movies go this is more visceral than spooky. The scares are mainly in the gore and violence, not so much from any build-up from tension; think of it as a slasher movie in a Japanese school girl uniform (you know, the Sailor Moon outfit) and there you have Liverleaf, which is a local flower that blooms to usher in spring and is a big deal to Nozaki’s photographer friend, her only friend and maybe more than that. This isn’t going to scare the bejeezus out of you but then again, not every horror film has to.

REASONS TO GO: Some of the scenes of brutality are filmed in a strangely beautiful manner. Anna Yomada delivers a killer performance (literally).
REASONS TO STAY: The movie is way too long.
FAMILY VALUES: There is violence and disturbing images, gore, profanity and scenes of brutal bullying.
TRIVIAL PURSUIT: The movie is based on the Misumisô manga by Rensuke Oshikiri.
CRITICAL MASS: As of 7/16/18: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Heathers
FINAL RATING: 7.5/10
NEXT:
1/1

Suburbicon


Matt Damon is having a really bad night.

(2017) Black Comedy (Paramount) Matt Damon, Julianne Moore, Noah Jupe, Oscar Isaac, Richard Kind, Gary Basaraba, Leith Burke, Karimah Westbrook, Tony Espinosa, Glenn Fleshler, Alex Hassell, Don Baldaramos, Ellen Crawford, Megan Ferguson, Corey Allen Kotler, Steven Shaw, Steve Monroe, Allen Wasserman, Rupert Pierce, Pamela Dunlap, Biff Yeager, Lauren Burns. Directed by George Clooney

 

Suburbicon is a black comedy. Suburbicon is a treatise on social injustice. Suburbicon is a crime drama. Suburbicon is a period piece. Suburbicon is all of those things and none of those things. It’s a pastiche of different things that flutter through the proscenium and then wither on the screen. It’s one of the most disappointing movies of 2017.

Based on an unproduced script by the Coen Brothers, Clooney and writing partner Grant Heslov have added a bit of contemporary social commentary – white racists in a suburban planned community in the Northeast talk endlessly about erecting a giant wall around the home of the first African-American residents of the community but this is no mere Trump-bashing exercise although it is that too.

The arrival of the Meyers family into  lily-white planned suburban community in the Eisenhower 50s only shows the insidious racism lurking just beneath the surface of America’s golden age – and by implication, continues at present. However, that’s not the only story going on here. During a home invasion, Rose Lodge (Moore) dies of a chloroform overdose, leaving her grieving husband Gardner (Damon), son Nicky (Jupe) and twin sister Margaret (Moore again) to pick up the pieces.

Much of the comedy centers around the blatant consumerism of the suburban 50s and as well there are certain Coen moments (like an oily insurance investigator (Isaac) who figures out what’s going on or a chase scene between a thug (Fleshler) and Gardner in a VW and child’s bike, respectively) that will delight their diehard fans. Still, there aren’t enough of them to overcome the curiously flat energy and the wildly all-over-the-place script that derails the project despite the presence of high-wattage stars. There are enough moments to make it worth checking out, but not enough to go out of your way to do so.

REASONS TO GO: Matt Damon plays way against type. There are some occasional moments of offbeat humor.
REASONS TO STAY: The comedy is scattershot and the energy is flat. The soundtrack is annoying.
FAMILY VALUES: There is plenty of violence (some of it graphic), profanity and some sexuality.
TRIVIAL PURSUIT: This was the first time Clooney directed a film in which he did not also appear as an actor.
BEYOND THE THEATERS: Amazon, Fandango Now, Frontier, Google Play, iTunes, Paramount Movies, Vudu, YouTube
CRITICAL MASS: As of 3/31/18: Rotten Tomatoes: 29% positive reviews: Metacritic: 42/100.
COMPARISON SHOPPING: Downsizing
FINAL RATING: 6/10
NEXT:
Finding Your Feet