Angels Crest


Here's an angel that Charlie missed.

Here’s an angel that Charlie missed.

(2011) Drama (Magnolia) Thomas Dekker, Lynn Collins, Jeremy Piven, Mira Sorvino, Elizabeth McGovern, Emma Macgillivray, Joseph Morgan, Greg Lawson, Chris Ippolito, Dave Brown, Colin A. Campbell, Marty Antonini, Ameko Eks Mass Carroll, Jonathan Lachlan Stewart, Julian Domingues, Aedan Tomney, Wally Houn, Lindsay Burns, Barbara Williams, Christianne Hirt, Kate Walsh. Directed by Gaby Dellal

Bad things happen, sometimes to good people and sometimes to bad. Even the worst of events that occur have nothing to do with a person’s goodness or lack thereof. What the true measure of a person is depends on how they deal with the truly awful things that life throws at us.

Ethan (Dekker) is a 21-year-old young man who works at an auto shop in the working-class Rocky Mountain town of Angels Crest. It’s one of those places where everyone knows everyone else, where rugged individualism is the expectation and where the bleak winters often mirror the bleak outlook for many, who have no hope of escaping the lives they lead.

Ethan is the father to 3-year-old Nate (Carroll) and his sole caregiver, mainly because Nate’s mommy Cindy (Collins) is a mess, a raging alcoholic who can barely care for herself with a side order of promiscuity. One bright afternoon, Ethan takes Nate for a boy’s trip into the woods. On the way back, an exhausted Nate falls asleep and as Ethan drives towards town, he sees some deer. For whatever reason, he gets out of his truck, makes sure Nate is strapped in to his child’s seat, and leaving the heater running, follows the deer out into the woods.

You can guess that wasn’t a very smart idea. When Ethan returns to the truck, Nate is gone. He searches through the woods fruitlessly, then races back to town, returning with a search party but Nate is nowhere to be found. It takes a little while but little Nate is eventually found, frozen to death. Of course, Ethan is devastated and the hot mess that is Cindy blames Ethan for her little boy’s demise.

The town is sharply divided by the event, some joining Cindy in blaming Ethan and calling for his arrest for negligence (a feeling that the prosecutor (Piven) shares) while others believe Ethan when he says he was gone for just a few minutes and that this was just one of those horrible things that could have happened to anyone.

Like Atom Egoyan’s The Sweet Hereafter, the film examines the effects of a tragedy on a small town but the similarities end there. In the Egoyan film, the school bus accident that took the lives of a fair amount of children touched nearly every family in town; here, the directly affected are few. Still, the howls of Ethan’s grief are no less heart-wrenching no matter the number of children lost; in some ways the grief of a single person is more relatable than the grief of multiple people.

But the movie goes off the rails because of the excessive number of subplots which for the most part have no real bearing on the matter of hand. There is a lesbian couple (McGovern and Walsh) struggling for acceptance, with McGovern trying to win the affections of her own son (Domingues) who is also a horror show. The prosecutor has some deep dark secret that is motivating him to obsessively pursue an investigation that is tearing the town apart. A diner waitress (Sorvino) struggles to raise her own son on her own and happens to be Cindy’s best friend. Ethan’s best friend (Lawson) feels guilt over having been banging Cindy at the time of the incident.

All of these little subplots are enacted by characters whose only reason to be in the movie is to be involved in these subplots. They add no insight and don’t really enhance the story any. While the movie is beautifully shot with plenty of picturesque snow-covered vistas, the whole thing feels a bit like a soap opera more than a drama. While some of the scenes carry a good deal of emotional resonance, an equal number of scenes fall flat. This is as inconsistent a film as you’re likely to see.

Still, there is enough here that the movie is worth a casual glance if the opportunity presents itself although I wouldn’t put a whole lot of effort into seeking it out. The deficiencies in the film’s story and script nearly (but don’t quite) exceed the movie’s emotional impact.

WHY RENT THIS: Some of the scenes work. Evocative. Beautiful cinematography.
WHY RENT SOMETHING ELSE: Some of the scenes don’t. Heavy-handed and plodding. Soap opera-esque.
FAMILY VALUES: Adult themes, strong language and some sexual content.
TRIVIAL PURSUIT: The film was titled Abandoned in the UK.
NOTABLE DVD EXTRAS: There are interviews with Dekker and Sorvino.
BOX OFFICE PERFORMANCE: $832 on an unknown production budget.
SITES TO SEE: Netflix. Amazon, iTunes, Google Play, Vudu
COMPARISON SHOPPING: Gone Baby Gone
FINAL RATING: 6/10
NEXT: Creed

The 33


Chippendale's goes underground.

Chippendale’s goes underground.

(2015) True Life Drama (Warner Brothers/Alcon) Antonio Banderas, Rodrigo Santoro, Juliette Binoche, James Brolin, Lou Diamond Phillips, Mario Casas, Jacob Vargas, Juan Pablo Raba, Oscar Nuňez, Tenoch Huerta, Marco Treviňo, Adriana Barraza, Kate del Castillo, Cote de Pablo, Elizabeth De Razzo, Naomi Scott, Gustavo Agarita, Bob Gunton, Gabriel Byrne, Paulina Garcia. Directed by Patricia Riggen

One of the problems with bringing a real life event to the big screen, such as the sinking of the Titanic or the destruction of the Hindenburg is that everyone knows what’s about to transpire pretty much. For the mine collapse of the San Jose copper mine in Chile’s Atacama Desert on August 5, 2010 that trapped 33 miners miles below the surface for 69 days, most people are aware of how that turned out.

For most of the miners of the San Jose copper mine, August 5, 2010 was just another working day. After a retirement party for Mario Gomez (Agarita) who has just a few days to retire, Mario Sepulveda (Banderas), engineer Luis “Don Lucho” Urzua (Phillips), Elvis impersonator Edison Pena (Vargas), Dario Segovia (Raba), a homeless alcoholic and the devout Jose Henriquez (Treviňo) are among those who go down to earn their living, even though there are signs that something catastrophic was about to occur (and in real life, several miners had died and the mine owners repeatedly fined for poor safety conditions in the century-old mine).

Then a rock twice the size of the Empire State Building shifts and falls, burying the miners miles below the surface. When the 33 miners in the bowels of the earth reach their refuge, they discover that the medical supply cabinet is empty, the emergency food rations nearly so, and the telephone to the surface unconnected. The ladders in the ventilation shaft are also discovered to have never been completed. At first the miners take out their frustrations on foreman Urzua but Sepulveda’s level head prevails. They go about rationing the little food and water they have access to.

On the surface, the families of the miners, led by Maria Segovia (Binoche), the estranged sister of Dario, demand to be informed as to what is being done. The mining company, without the wherewithal to mount an expensive rescue operation, has decided to assume the men are dead and are making only token attempts to see if the miners are alive. The arrival of Chile’s Minister of Mines Laurence Golborne (Santoro) changes that; as he quickly discovers the lack of interest on the mining company’s part of getting their employees home alive, he takes charge of the rescue operation, with the blessing of Chilean President Piňera (Gunton) and with the assistance of mining engineer Andre Sougarret (Byrne).

In the meantime, things are looking dire in the mines as the first boreholes sent to the shelter miss their targets. However, once the miners are discovered alive and well, the gaze of the world turns to this compelling story in a small Chilean town.

Part of the problem with The 33 lies in its own title; there are 33 miners trapped underground and the movie can’t really spend a whole lot of time developing any of their characters. Throw in the families, political and media figures, the rescue teams including the one led by American Jeff Hart (Brolin) and it’s nearly impossible for director Riggen to give us a figure for the audience to latch onto, with the exception of the larger-than-life “Super Mario” who became a media darling in Chile during the actual event.

So a solid cast led by Banderas and Binoche, one of the most gifted actresses in the world, is left with frustratingly little to do other than occasionally mouthing a cliche meant to project their character’s role in the movie as comic relief, antagonist, love interest and so forth. Riggen has been criticized for this somewhat but to be fair I don’t think any director could have wrangled all of these characters and made them three dimensional unless she had a mini-series to do it with. Going back to Super Mario, during the movie there’s an incident when the miners turn on him because of his perceived favored status. One wonders if the actors in the film felt the same about Banderas who is really the only one of them who gets to make any sort of impression.

The rugged Chilean desert nicely contrasts with the mine scenes which were filmed in working mines in Columbia. They do capture nicely the flavor of being deep underground, although the sense of just how deep they were gets a little lost – in reality it would take the miners about an hour to reach the level they were trapped on from the surface, and of course an hour to return.

The movie glosses over some of the more disturbing aspects of the story, such as the mining company’s negligence or the absolutely disgraceful dismissal of their lawsuit three years after the disaster, or of the Chilean government’s opportunistic use of the miners to prop up their own sagging popularity. However, to be fair, the movie makes it clear that this was a defining moment in the history of Chile and that cannot be overlooked.

All in all, it’s an uplifting story that is a tribute to human endurance, the unmistakable power of hope, and the undeniable lure of bare masculine chests. I don’t know that the movie captured the true nature of what the miners endured – the second half of the movie there is almost zero tension because by that time supplies were making regular appearances down a tube from the surface, they had video communication with the surface and they made it seem less of a life-threatening situation than an endurance race. In the actual situation, there were serious doubts that the miners would survive – the unstable geological situation and the unknown performance of the rescue capsule were certainly question marks. Unfortunately, Riggen doesn’t really capture that adequately and maybe no director could have. After all, it’s no secret (and therefore not a spoiler) that all of the miners were rescued. That’s certainly the outcome we all wanted, but as dramatic cinema goes it doesn’t really stack up well.

REASONS TO GO: Inspiring. Plenty of beefcake.
REASONS TO STAY: Lacks character development. Little tension since we know how it ended.
FAMILY VALUES: There’s some minor profanity and a disaster sequence that might be a bit scary for young ones.
TRIVIAL PURSUIT: The final film to be scored by the late James Horner, who died in a plane crash two months before the movie’s release.
CRITICAL MASS: As of 11/29/15: Rotten Tomatoes: 42% positive reviews. Metacritic: 55/100.
COMPARISON SHOPPING: October Sky
FINAL RATING: 6/10
NEXT: Spotlight