War Machine (2017)


War is an all-American pastime!

(2017) Dramedy (Netflix) Brad Pitt, Ben Kingsley, Tilda Swinton, Topher Grace, Anthony Michael Hall, Scoot McNairy, Lakeith Stanfield, Alan Ruck, Will Poulter, Nicholas Jones, Meg Tilly, Josh Stewart, Tim Downey, Richard Glover, Griffin Dunne, Andrew Byron, Daniel Betts, John Magaro, RJ Cyler, Emory Cohen, Rufus Wright, Sean Power, Sian Thomas, Paul Hickey, Georgina Rylance. Directed by David Michôd

 

Netflix has been producing original movies for several years but their Adam Sandler comedies aside, their first serious attempt at a blockbuster of their own was this fictionalized Brad Pitt film based on a non-fiction book about the War in Afghanistan. It is not a promising start, although they have several films that have been released since then that are far better and far bigger.

The movie is meant to be a black comedic commentary on the nature of 21st century war as practiced by the United States. It moves at a kind of snail’s pace (at roughly two hours long, it is about a half hour too much) through a bloated script full of unfunny bits. The fault here isn’t Pitt’s although this is perhaps his most deranged work yet; his General Glen McMahon is a walking tic machine, exhorting troops that “We WILL prevail” at the same time expressing frustration with the bureaucracy he has to deal with. His square-jawed expression is the epitome of every Hollywood American military commander yet his odd gait looks like he has some sort of wound in his genitals.

Despite having a cast of some of the best actors and character actors working today, there are simply too many roles and you forget who is who after about five minutes, leading to further confusion that the screenplay hasn’t already caused itself. This has all the earmarks of moviemaking by committee.

I liked the concept and thought that given the pedigree of Michôd (Animal Kingdom) that this project had promise but it pretty much falls apart of its own weightiness. I get the sense that the filmmakers were told to make a comedy, then told to make a commentary on war, then told to make a drama by the powers that be. What they ended up making was a mish-mash that is neither one nor the other but is a tedious waste of two hours. I expected much better

REASONS TO GO: Even at his most subdued, Pitt still exudes star power.
REASONS TO STAY: The film is bloated and dreadfully unfunny.
FAMILY VALUES: There is war violence and profanity.
TRIVIAL PURSUIT: The film references actual events that took place during the command of Stanley A. McChrystal between 2009 and 2010.
BEYOND THE THEATER: Netflix
CRITICAL MASS: As of 3/28/18: Rotten Tomatoes: 50% positive reviews. Metacritic: 56/100.
COMPARISON SHOPPING: Wag the Dog
FINAL RATING: 5/10
NEXT:
Suburbicon

Advertisements

Get Me Roger Stone


Roger Stone is about as conservative as it gets.

(2017) Documentary (Netflix) Roger Stone, Donald J. Trump, Paul Manafort, Tucker Carlson, Jeffrey Toobin, Alex Jones, Jane Mayer, Wayne Barrett, Henry Siegel, Matt Labash, Nydia Stone, Michael Caputo, Charlie Black, Ryan Fournier, Mike Murphy, Steve Malzberg, Kathy Tur, Timothy Stanley, Ann Stone, Danielle Stevens, Adria Stone. Directed by Dylan Bank, Daniel DiMauro and Morgan Pehme

 

When looking at modern American politics, specifically on the Republican side, it’s hard not to wonder how a party that at one time was the bastion of thinkers like William F. Buckley, populists like Dwight Eisenhower and gentlemen like Everett Dirksen has become the party of trash politics, of misinformation and exclusion, of divisiveness and corruption. Ladies and gentlemen, allow me to introduce Roger Stone.

Or more to the point allow this Netflix documentary to introduce him. Described by New Yorker writer Jeffrey Toobin as “the sinister Forrest Gump of American politics,” Stone has been at the center of much of the most important political changes of the last 30 years. At 19 he was the youngest person to be called to testify before a Watergate committee; he was also one of the innovators of PACs and Super PACs that transformed campaign finance. He was a disciple of Roy Cohn, the pit bull of a lawyer who was Joseph McCarthy’s attack dog and one of the most amoral political figures to ever walk the face of the Earth. He co-founded (with Paul Manafort and Charles Black a firm that became known as the “torturer’s lobbyists” for all the third-world dictators they represented.

Perhaps worst of all, he saw political potential in a real estate mogul named Donald J. Trump. Stone groomed him over more than 30 years, pestering him to run for President (but never pushing). He is given credit for getting Trump aboard the Birther train that essentially established him as a political figure. As a campaign advisor, Stone helped shape the vicious tenor of the campaign, often seen wearing a t-shirt of former President Bill Clinton (husband to the Democratic nominee) with the word “Rape” below in a snarky parody of the Obama “Hope” poster. Stone made sure the country thought of the former President as a rapist as prodigious as Bill Cosby, conveniently ignoring the fact that his own candidate had been accused of sexual assaults himself.

Stone is an affable fellow in person, a respectable raconteur that at first glance you might not mind having a drink or two with. However, it wouldn’t take long before you notice that mostly what Stone talks about in an underhanded way is himself. He has a tremendous ego and a need to be the center of attention; it is no surprise to anyone that the Trump campaign couldn’t handle more than one ego like that That’s likely the reason why Stone was removed from the campaign itself, although he continued to offer advice when asked and support Trump on his own.

The film is divided into sections headlined by what Stone calls “Stone’s rules,” a series of aphorisms that he uses to guide his political philosophy. Some of them are meaningless; “Business is business,” for example. What the hell else would it be? There are others like “Hate is a greater motivator than Love” which is cynical in the extreme but frustrating because he’s largely right in that case.

Stone is a master of dirty political tricks and feels no remorse for anything. His guiding principle is that winning is the ONLY thing. Stone would probably tell you that you can’t implement a political philosophy if you lose; only winners get to determine the course this country and indeed the globe takes. As far as Stone is concerned, nothing is out of bounds so long as it doesn’t violate campaign laws. If the truth is stretched and people misdirected, that’s all right. If people are gullible enough to believe the big lie, then they deserve the leadership they get. It is something of a page out of the Hitler playbook.

Yes, if you haven’t noticed by now I’m a leftie that Stone would be somewhat amused by. I don’t think he hates liberals; he just wants to beat them. The fact that he’s so good at doing so tends to frustrate the hell out of the left. It allows Stone to gloat and he does so with a smug expression on his face.

As far as getting to know the real Roger Stone, don’t bet on it. Stone is a master at creating images – anyone who can characterize a real estate billionaire as a man of the people has to be admired to an extent. Although the filmmakers are also liberal (which Stone jokingly warns his friends of) in many ways Stone controls the narrative here. Although the filmmakers turn the documentary into almost a black comedy that is as cynical as can be, it is Stone having the last laugh.

This is tailor made for those conservatives who take great satisfaction in twisting the knife into bleeding hearts. Liberals may have a hard time watching this, particularly towards the end. It’s hard to watch the soul of your country being corrupted by someone who doesn’t care what the effects of this amorality has on the psyche of a nation. I’m sure Roger Stone has no issue with the Vince Lombardi quote “Winning isn’t everything; it’s the only thing” but even Lombardi knew that there were some costs that were too high to make winning worth it.

What Stone doesn’t understand – could never understand – that when you corrupt the soul of something, it ceases being what you admired about it in the first place. Making America great again has nothing to do with the rhetoric spewed by Trump, Stone and their ilk – it’s in fulfilling the dreams of the founders and those that followed them, being the place that embraced the American dream rather than trying to cut it off from the masses so that only those who have already achieved it can benefit from it. That is the real tragedy of Roger Stone – in winning he has lost everything he was fighting for, and he doesn’t even know it.

REASONS TO GO: This is in a lot of ways a black comedy; the fact that it’s true is depressing.
REASONS TO STAY: The lack of ethics is very hard to watch at times.
FAMILY VALUES: There is a fair amount of profanity here.
TRIVIAL PURSUIT: Stone’s political ideology was largely shaped by reading Barry Goldwater’s The Conscience of a Conservative at a young age.
BEYOND THE THEATER: Netflix
CRITICAL MASS: As of 3/9/18: Rotten Tomatoes: 90% positive reviews: Metacritic: 75/100.
COMPARISON SHOPPING: You’ve Been Trumped
FINAL RATING: 6.5/10
NEXT:
Ashes

Casting JonBenet


A gaggle of beauty queens await their call.

(2017) Documentary (Netflix) Amy Dowd, Laura Lee, Jay Benedict Brown, Blake Curton, Jerry Cortese, Kit Thompson, Hannah Cagwin, Teresa Cocas, Gary Foster, Taylor Hollenbeck, Lynne Jordan, Dixon White, William Tidwell, Gary J. Neuger, Deb Hultgren, Ronda Belser, Tamara Hutchins, Marian Rothschild, Suzanne Yazzie, Dorinda Dercar. Directed by Kitty Green

 

The murder of JonBenet Ramsey has captured the attention of the American public for more than 20 years now. The six-year-old beauty pageant entrant was found missing on Christmas Eve 1996 with a four-page ransom note found on the staircase; hours later on Christmas Day her body was found in the basement wrapped in a blanket, her head savagely bludgeoned and then strangled by the neck. It is possible that she was sexually assaulted in her last minutes on earth.

The Ramsey family of Boulder, Colorado came under intense media scrutiny; stories didn’t add up and accusations were flung, some fairly ludicrous. Her mother Patsy, her father John and her brother Burke were all at one time or another suspects of the police investigation, which became notorious for its incompetence.

Documentarian Kitty Green took a unique tactic looking at the JonBenet murder. While we have seen plenty of newsmagazine crime show segments and similarly-themed documentaries looking at the murder, Green chose instead to film over 15 months in Boulder, interviewing local actors who were ostensibly auditioning for a movie about the murder.

Boulder being a small college town, it’s unsurprising that some of the actors (some of whom were professional, some not) had personal connections to the Ramsey family; one had a girlfriend at the time of the murder who was John Ramsey’s personal assistant. Another had an aunt who lived in the neighborhood. Another gave vocal lessons to JonBenet herself. All of them who had lived in Boulder in ’96 had opinions of who did it.

We get some of the facts of the case through re-enactments and through anecdotes but if you’re looking for a police procedural or a historical examination of the events that took place, look elsewhere. Green’s aim is not to present an examination of the murder from a typical sense but to see how the murder affected not only the people of Boulder but by extension, the rest of us in America.

As the movie goes on, the camera becomes kind of a confessional and the Ramsey case triggers memories of personal tragedies. One man relates to John Ramsey because he himself was accused of murdering a loved one (he was found innocent and the investigation into him was dropped); another actress remembers the murder of a sibling and how it tore apart her household.

Some of the women empathized with Patsy Ramsey, breaking into tears at the thought of their own child being found alone in a cellar, wrapped in a blanket after being brutally murdered. Those are the moments that the movie works best, giving the viewer an anchor to latch onto. When Green goes the more esoteric route (such as a tracking shot near the end in which the actors act out a variety of the many theories about the murder) the film is less successful.

It has been said about the case that nobody knows the truth but everyone has an opinion. Possibly that’s the message that Green was trying to send but her intentions are a little vague. There aren’t any experts in the facts of the case being interviewed so what we are mostly getting are amateur opinions and you may or may not have any use for those.

Still it makes for compelling viewing into human nature; along with the Lindbergh baby, the assassination of JFK and the OJ Simpson case, the JonBenet Ramsey murder captured the public attention like few other crimes in the 20th century. That it remains unsolved to this day is perhaps part of the attraction; that we’ll likely never know what happened in that basement Christmas Eve adds to the tragedy.

REASONS TO GO: There are some moments that pack a powerful emotional punch. This is an at times fascinating take on a story everyone knows generally but not in detail.
REASONS TO STAY: It’s more of a social experiment than a documentary. I’m not entirely sure what the point was in making this.
FAMILY VALUES: There is some profanity, sexual innuendo and disturbing content.
TRIVIAL PURSUIT: The film debuted at the 2017 edition of Sundance.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 2/19/18: Rotten Tomatoes: 80% positive reviews. Metacritic: 74/100.
COMPARISON SHOPPING: Kate Plays Christine
FINAL RATING: 6/10
NEXT:
The Post

The Ritual (2017)


These are the manly rituals of remembrance.

(2017) Horror (eOne/Netflix) Rafe Spall, Arsher Ali, Robert James-Collier, Sam Troughton, Paul Reid, Matthew Needham, Jacob James Beswick, Maria Erwolter, Hilary Reeves, Peter Liddell, Francesca Mula, Kerri McLean, Gheorghe Mezei, Adriana Macsut, Constantin Liviu Codrea, Zane Jarcu. Directed by David Bruckner

 

There is nothing quite like a hike in the woods to get you connected with the planet and with your friends. There are those who relish it more than others; some prefer more urbanized pursuits. But the one thing that most people agree on – particularly when it comes to horror movies – is that short cuts rarely end well.

Five college buddies are at the pub trying to figure out where they’re going to go on their bro vacation. They are of an age where they’re getting too old for Ibiza and too young (barely) for brunch but Vegas remains an attractive option. Unfortunately, tragedy strikes the group of five and now they are a group of four. In honor of their fallen comrade, the surviving four – whiny Dom (Troughton), guilt-ridden Luke (Spall), Alpha male Hutch (James-Collier) and the “takes the piss” guy Phil (Ali) – head out on a hiking trail in Northern Sweden headed for a lodge which is supposed to be really, really cool.

Along the way, one of them twists his ankle and rather than continue on the trail or head back, the five do the horror film-stupid act of taking a short cut through the woods because we know that a walk through dark and scary woods is a far easier task than following a clear, well-marked and well-maintained trail, right? All in all, with decision making skills like that, they’d have been better off going to Las Vegas. All they’d have lost was money.

They end up lost and stranded in the woods in the balmy Swedish weather (read as “lots of rain and fog”). Soon creepy things start to happen; they find eviscerated animals hanging from trees and strange symbols carved into the wood. They hole up in an abandoned house (which Phil wryly proclaims “This is clearly the house we will all be murdered in”) with a strange straw figure on a kind of altar. No wonder each of them have terrible nightmares that night and at least one of them ends up naked in a supplicating position at the altar.

Unnerved the quartet tries to find their way back to Swedish civilization but what they don’t know is that they are running headlong into the clutches of a rural cult – and the dark thing that the cult fears and worships. Daylight can’t come fast enough.

This British film was snapped up by Netflix and well they should. This is arguably one of the best horror films since The Babadook in my opinion. It has a lost in the woods Blair Witch Project vibe (albeit without the found footage) combined with a Wicker Man cult creepiness. In fact, Bruckner does a great job with the creepy tone which continues to grow more and more unnerving as the film progresses.

The movie does start rather slowly with one scene of shocking brutal violence breaking up the monotony but it turns out to be very okay; this is a slow builder and a fast burner of a movie. By the time the second half of the film rolls around you realize you’re on a roller coaster both emotional and metaphorical as the scares and chills come at you without any let-up.

The monster in the film isn’t revealed until near the very end (mostly you see it as trees swaying and unearthly howls) and it’s certainly worth the wait. It’s not in the film very long in terms of screen time but it casts a giant shadow the whole way and it also has the power to send the characters hallucinations involving their worst fears and greatest guilt. It is particularly effective on Luke who blames himself for what happened to one of their number, not because he’s directly responsible but because he failed to help when his hour of need arose.

The movie is all about guilt and redemption and that may be a bit too cerebral for horror film fans who only care about the visceral (and there’s nothing wrong with either of those types of horror by the way). There is some scenes of gore but we don’t see bodies actually being ripped wide open by the monster which might be the movie’s only real failing.

The Ritual played the Toronto Film Festival in 2017 and has gotten some really good critical notices particularly in its native UK. Here in the States, it is available now on Netflix and worth getting the service for all by itself. This is one of the best Netflix original movies to date for the service and an early entry for the best horror film of the year.

REASONS TO GO: The monster, when finally revealed, is really nifty. The last half of the film is a roller coaster ride. The creepy factor gets higher and higher as the film goes along.
REASONS TO STAY: The film starts off rather slowly.
FAMILY VALUES: There is a fair amount of profanity, violence (some of it graphic and brutal), some grisly images as well as scenes of terror.
TRIVIAL PURSUIT: One of the producers of the film is Andy Serkis although he doesn’t appear in the film as either an actor or a motion capture specialist.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 2/11/18: Rotten Tomatoes: 68% positive reviews. Metacritic: 58/100
COMPARISON SHOPPING: Rituals
FINAL RATING: 8/10
NEXT:
Devil’s Gate

In the Shadow of Iris (Iris)


There are layers of deceit when it comes to sexual fetishes.

(2017) Thriller (Netflix) Romain Duris, Charlotte Le Bon, Jalil Lespert, Camille Cotin, Adel Bencherif, Sophie Verbeck, Héléne Barbry, Jalis Laleg, Violetta Sanchez, Gina Haller, Félix Cohen, Waël Sersoub, Benoit Rabillé, Antoine Bujolli, Mourad Frarema, Vincent Dos Reis, Olivier Galzi, Christian Ameri, Nicolas Grandhomme, Betony Vernon, Alexandra Langlais. Directed by Jalil Lespert

 

Who knows what is in a woman’s mind (or a man’s for that matter but that’s for a different review) behind the façade of civility? All sorts of things percolate; the woman who may seem to be a model wife may have cheating on her mind. The woman who seems proper and prim may indulge in fetishes and perversions that would shock you if you knew.

Iris (Le Bon) is the wife of wealthy Parisian banker Antoine Doirot (Lespert). They are at lunch one afternoon when she excuses herself for a smoke. When she doesn’t return, at first Antoine wonders if she didn’t decide to go shopping without saying goodbye but as the day wears on and there’s no sign of her he begins to worry…but then the call comes in on his smart phone complete with a photo of his wife tied up and gagged in some dark room. The ransom is high but affordable for someone like Antoine.

She is in the possession of auto mechanic Max Lopez (Duris) who not only is in financial trouble and dealing with a divorce, but is about to lose his home due to Antoine’s bank. Yet he is not a suspect right away; though he has a criminal record, nobody thinks he has the skills to pull something like this off. As the police detectives Vasseur (Cotin) and Ziani (Bencherif) look into the matter more deeply, it quickly becomes clear that all is not as it seems – and that nobody is as they seem in this twisted drama.

This French thriller has noir-ish elements as well as being heavy on the erotic. Playing heavily into the plot are bondage and S&M fetishes – one scene includes a dominatrix whipping the hell out of a main character’s back, almost into unconsciousness. There is sex on top of a murder victim by the murderer, and there are all sorts of references to marital infidelity, sexual violence and prostitution. This is most definitely not for family viewing, unless your family hangs out in leather clubs.

I’m not a prude but the eroticism feels a bit gratuitous to me. It doesn’t really make too much of a difference in the plot really but that’s neither here nor there. If you’re into S&M it’s fairly tame stuff compared to what you might find on some of the adult movie sites but more realistic than what you’ll find in the Fifty Shades movies.

The real problem here is that Lespert inserts flashbacks throughout the film to explain some of the things going on, but there’s no real way of telling you’re watching something from a different time until often later in the movie. It’s confusing as hell and the plot, convoluted already, doesn’t need that kind of confusion. Lespert is decent enough with the tension, keeping viewers into the movie but sometimes it’s truly hard to figure out what’s going on. It doesn’t help matters that Lespert and Duris look fairly similar and the only way to tell them apart is when Max is wearing his mechanic coveralls – which he doesn’t always do.

On the plus side the soundtrack is awesome with a lot of great pop and rock songs from France, England and the U.S. I’d go so far as to say that it may have the best soundtrack of any of the Netflix original films I’ve seen thus far. Still, if you’re looking for an erotic thriller, there is a lot going for this one. There’s also a lot going against it, to be fair. I think what it boils down to is whether you can tolerate the film’s flaws, are able to tolerate (or if you have a thing for) bondage and S&M, and if you don’t mind subtitles. If the answer to all of those are positive, definitely have at this one.

REASONS TO GO: Lespert does a fine job of maintaining tension. The soundtrack is excellent.
REASONS TO STAY: Some of the plot points are far-fetched. The flashbacks are often confusing.
FAMILY VALUES: There is nudity, sexual situations, brief language and violence.
TRIVIAL PURSUIT: This is a loose remake of the 2000 Hideo Nakata film Chaos. Initially this was going to be an American film but when no studio would finance it, the movie was shopped to other countries with a French production company footing the bill.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 1/26/18: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: The Disappearance of Alice Creed
FINAL RATING: 6.5/10
NEXT:
American Folk

Small Crimes


I was just starting to look up to Nicolaj Coster-Waldau.

(2017) Crime Drama (Netflix) Nikolaj Coster-Waldau, Robert Forster, Jacki Weaver, Molly Parker, Gary Cole, Macon Blair, Michael Kinney, Daniela Sandiford, Shawn Lawrence, Pat Healy, Eddie Holland, Jasson Finney, Anatoly Zinoviev, Glen Bowser, Larry Fessenden, Tara Yelland, Derek Barnes, Tyrone Benskin, Frank Schorpion, Alex Stines, Stéphane Julien, Julia Dawi. Directed by E.L. Katz

 

There are those who say they make their own luck and I suppose there is some truth to that. Some people absolutely refuse to let themselves get down; they do whatever it takes to succeed. Conversely there are also people who always seem to be on the losing end of life; they self-sabotage through bad decision making. They truly seem born to lose.

Joe Denton (Coster-Waldau) is one such sort. Recently released from prison after a six year stint, he was once a police officer in a rural Midwestern town who was convicted of conspiracy of trying to murder the district attorney Phil Coakley (Kinney). Corrupt and a raging alcoholic as a law enforcement officer, he has found sobriety in the joint and emerges hoping to turn his life around.

He moves back in with his parents Joe Sr. (Forster) and Irma (Weaver). Ma Denton in particular is suspicious of her son; she doesn’t really believe he’s truly capable of change. Joe is looking to reconnect with his ex-wife and resume being a father again but a single telephone call is sufficient for Joe to back off after a half-hearted attempt.

His ex-partner Lt. Pleasant (Cole) has some worries of his own; not so much about Joe who kept quiet about his involvement even in the face of a prison sentence, but against local crime boss Manny Vassey (Lawrence) who is dying of cancer and has found Jesus; Pleasant is concerned that Vassey might decide to unburden his soul before departing this green earth and in the process incriminate Pleasant.

Joe makes a bee line for the nearest bar and before you know it has fallen off the wagon. He begins to sink into old habits, alarming his mother and a botched attempt to kill Manny brings Joe under the watchful psychotic eye of the mobster’s son Junior (Healy). The lone bright spot in Joe’s life is his budding romance with hospice nurse Charlotte Boyd (Parker) who has baggage of her own, but even this potential game-changer may not be what it appears to be; Charlotte’s only client is Manny Vassey. And so things are beginning to spiral down towards a confrontation as Joe struggles to figure out how to get out of this rapidly deteriorating situation. Knowing Joe, things won’t end well for anybody.

This film had a solid debut at South by Southwest last year followed up with a fairly inconspicuous release on Netflix. The streaming giant has been a big player on the film festival circuit, snagging some prestige properties for their service while showing off some of their own original content. This one, while purchased at SXSW falls more in the mold of filler.

Coster-Waldau is best known as Jamie Lannister on the HBO hit series Game of Thrones and has enormous upside. He plays both hero and villain well which makes sense as Jamie is a little bit of both. He’s had a few high-profile roles but none have really put him over that cinematic hump yet. Here the best moments belong to Forster who is absolutely marvelous. Joe Sr. hopes against hope that his son will turn the corner but the guarded look in his eyes tells us that he doesn’t really expect him to.

I was heartened to find out this was written by Macon Blair, who directed the marvelous Blue Ruin and has written a number of highly regarded gritty indie films. Based on a David Zeltserman novel of the same name, the movie is unrelentingly downbeat. Blair has almost no exposition in the movie whatsoever other than some desultory pillow talk late in the movie; mysterious events are referred to and characters pop in and out of the movie that Joe apparently has some sort of previous relationship with but we are never informed about the nature of those events or the relationships with these people.

Blair is outstanding when it comes to writing male-oriented tough guy material but there is a little too much testosterone flowing for my own personal tastes, a little bit too much macho preening. At the end of the day this is a fairly typical “ex-con struggles to get his life back together despite enormous obstacles and a past that won’t let him go” type of film and although there are a few interesting twists and turns here, eventually when all is said and done Small Crimes adds nothing to the genre. The characters across the board are all unlikable and despite Coster-Waldau’s native charm, he isn’t able to make the character rise above his own flaws and be relatable. By the end of the movie most viewers will pretty much have written off Joe much as his parents have, much as everyone else around him has. Some people, this movie seems to opine, are genetically pre-disposed to fail and that’s such a bleak outlook on people that I find it hard to support a movie that believes that.

REASONS TO GO: Coster-Waldau is always engaging and the rest of the cast does exemplary work. The filmmakers pull no punches.
REASONS TO STAY: There’s a little too much testosterone flowing for my own taste. The film is very much a downer.
FAMILY VALUES: There is plenty of profanity, violence, drug use and some sexuality.
TRIVIAL PURSUIT: In the novel that the film is based on, Phil Coakley and his daughter are both white; in the film, they’re African-Americans.
BEYOND THE THEATER: Netflix
CRITICAL MASS: As of 1/17/18: Rotten Tomatoes: 62% positive reviews. Metacritic: 60/100.
COMPARISON SHOPPING: I Don’t Feel at Home in This World Anymore
FINAL RATING: 5.5/10
NEXT:
The Justice League

The 101-Year-Old Man Who Skipped Out on His Bill and Disappeared (Hundraettåringen som smet från notan och försvann)


101-year-old men stand out in any crowd.

(2016) Comedy (Netflix) Robert Gustafsson, Daniel Steiner, Caroline Boulton, Jens Hultén, David Wilberg, Shima Niavarani, Jay Simpson, Ralph Carlsson, Iwar Wiklander, Georg NIkoloff, Guhn Andersson, David Shackleton, Erni Mangold, Svetlana Rodina Ljungkvist, Eric Stern, Colin McFarlane, Cory Peterson, Shin-Fei Chen, Crystal the Monkey. Directed by Felix Herngren and Måns Herngren

 

Back in 2013, a Swedish cinematic adaptation of a bestselling novel The 100-Year-Old Man Who Climbed Out the Window and Disappeared became a massive hit in Sweden, enough so that it was brought to America a couple of years later (and played the Florida Film Festival to boot). It was one of my favorite films from 2015 and is still one I watch periodically.

Now comes a sequel which while not getting a theatrical release here in the States is available on Netflix. The streaming giant hasn’t really promoted the film much, so much so that almost no major publication has reviewed it and it has gotten almost no advertising. Is it worth checking out?

The movie takes place a year after the first one; it’s Alan Karlsson’s (Gustafsson) 101st birthday. He is celebrating with his pals Julius (Wiklander) and Benny (Hultén). As they celebrate they drink a Soviet soft drink that puts a little more pep in their step. Realizing that there are no bottles left of the confection and that the formula could make them a mint, they go on an extended road trip to rediscover the formula. On the way they are chased by the CIA, Karlsson gets a job as a soft drink company executive and a monkey makes their lives miserable. Also the biker gang from the first film continues to chase them for the missing money.

While director Felix Herngren returns as does much of the cast, the sequel doesn’t hold a candle to the original. There continue to be Gump-like flashbacks to Karlsson’s colorful past (including meetings with Richard Nixon and Henry Kissinger) and Bennie continues to be the world’s most indecisive man – a shtick which is getting old at this point – but to the bad the make-up on Gustafsson is strangely less convincing than it was in the first film. Also the humor is a lot more pedestrian; it’s like the writers were trying to play it much safer than the first one. Maybe because this one is an original script rather than based on an existing property there’s a little less cohesion to the story.

For those looking for a good comedy to stream, standing on its own this isn’t bad entertainment. Fans of the first film however are going to be sorely disappointed.

REASONS TO GO: The characters are all nicely developed from the first film. Gustafsson is a gem.
REASONS TO STAY: This isn’t nearly as good as the first film. The humor is pedestrian and the monkey is annoying.
FAMILY VALUES: There is some profanity, brief nudity and some drug use.
TRIVIAL PURSUIT: The films that Crystal the Monkey has appeared in have a combined worldwide gross of more than $2.5 billion; this is her first Swedish-language film.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 1/14/18: Rotten Tomatoes: No score yet. Metacritic: 57/100.
COMPARISON SHOPPING: A Man Called Ove
FINAL RATING: 6/10
NEXT:
Goodbye Christopher Robin