Okja


A girl and her genetically modified giant pig; such a sweet picture!

(2017) Fantasy (Netflix) Tilda Swinton, Paul Dano, Seohyun An, Giancarlo Esposito, Jake Gyllenhaal, Jungeun Lee, Byun Heebong, Yoon Je Moon, Shirley Henderson, Steven Yeun, Daniel Henshaw, Lily Collins, Devon Bostick, José Carias, Colm Hill, Kathryn Kirkpatrick, Nancy Bell, Jaein Kim, Bongryun Lee, Woo Shik Choi, Moon Choi. Directed by Joon-ho Bong

 

Asian culture can be incomprehensible at times for the Western mind. There is an almost cultish worship of things that are ridiculously cute and a sense of humor that is wacky and broad, yet their comic books and animated features can be crazy violent and chock full of deviant sexual behavior. Some things are best left un-analyzed.

In the near future, food shortages have led the multinational Morando Corporation to develop a genetically enhanced pig. The CEO (Swinton), seeking to undo the damage to the corporate image her amoral sister (also Swinton) did, proclaims the pig to be a miracle; it eats and poops less, provides more meat on the hoof (it resembles a hippopotamus with dog eyes) and tastes delicious. She initiates a contest in which piglets are sent to a variety of farms around the world to see which one is most successful at raising one.

The South Korean entry is sent to the farm of Hee Bong (Heebong) whose granddaughter Mija (An) has developed a bond with her pig whom she has named Okja. When television personality Johnny Wilcox (Gyllenhaal) – a sort of Steve Irwin-like character if Steve Irwin had been a corporate shill – visits the remote mountain farm and proclaims Okja the winner. What nobody has told Mija however is that Okja is to be taken away from the farm, sent to New York for a promotional appearance and then butchered for snacks. When she finds this out, she is not at all pleased.

But she gets a break; the quirky Animal Liberation Front, led by the quirky Jay (Dano) – has kidnapped Okja (maybe pig-napped would be a better term) and hopes to use the creature for his own agenda. However operatives for Morando find Okja and bring her back to New York. Can Okja be saved? And even if she is, will she ever be able to live on the farm again once she’s seen New York?

Director Joon-ho Bong, who gave us the wonderful The Host and the not as wonderful but still interesting Snowpiercer, delivers a great-looking film which is infused with a good deal of unexpected satire on the nature of corporate politics, mass media, obsession, animal cruelty and a little bit of American imperialism (at least one line spoke in Korean is deliberately mistranslated in the subtitles, which is about as subversive as you’d think Netflix would ever get). The satire can be a bit broad but it at least has its heart in the right place.

Just as broad is the humor which can take some getting used to by Western and particularly American audiences. There’s an awful lot of jokes about pig shit and if you find that dopey or distasteful, well, you’re not alone. Fortunately nothing is overtly mean or tremendously gross, so most youngsters will be delighted by the mainly CGI Okja who looks startlingly realistic.

This isn’t bad at all, although again there is a bit of a curve of how much you’ll enjoy it depending on how open to different cultures you might be. While much of this is fairly universal, I found some of it to be bewildering. Still, the cinematography is incredible (particularly in the Korean scenes) and even if the usually reliable Gyllenhaal and Swinton overact shamelessly (Esposito as a debonair corporate flunky is an exception) the movie is a solid choice for a night at home with Netflix.

REASONS TO GO: It’s bizarre and weird but in a good way. There is a surprising amount of social satire in the mix.
REASONS TO STAY: The humor is a little broad for my Western tastes and the movie a bit too long for what it is.
FAMILY VALUES: There is some profanity, some violence and plenty of rude humor.
TRIVIAL PURSUIT: The Animal Liberation Front is an actual organization that is dedicated to freeing animals in captivity and causing economic chaos for corporations profiting from their captivity.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 8/1/18: Rotten Tomatoes: 86% positive reviews. Metacritic: 75/100.
COMPARISON SHOPPING: Babe: A Giant Pig in the City
FINAL RATING: 7/10
NEXT:
40 Years in the Making: The Magic Music Movie

Swiss Army Man


Just another day at the beach.

Just another day at the beach.

(2016) Fantasy (A24) Paul Dano, Daniel Radcliffe, Mary Elizabeth Winstead, Antonia Ribero, Timothy Eulich, Richard Gross, Marika Casteel, Andy Hull, Aaron Marshall, Shane Caruth. Directed by Daniels

 

Look, some movies simply aren’t meant for everybody. And that’s not necessarily a bad thing; in an era where Hollywood is constantly trying to create franchise films that are all things to all people, it’s refreshing once in awhile to happen upon a movie that is meant to appeal only to a narrow few and if you’re one of that narrow few, it’s like getting a private message from someone who shares your own particular interests.

On a deserted tropical island, a bearded and bedraggled Hank (Dano) is standing on a cooler with a noose around his neck, ready to step off and have an end to everything. How he got to this island is unimportant; the salient fact is that he’s totally alone – and sharp-eyed viewers will recognize that as a metaphor that drives the film.

However, his loneliness ends with the site of a man washed ashore on the beach. Forgetting his precarious position, Hank steps off…and fortunately for him, the rope snaps, allowing him to rescue the man…who is sadly, quite dead. The corpse, whom Hank names Manny (Radcliffe), is full of the gasses of decomposition and farts constantly. If you are the sort who is offended by flatulence, read no further and skip this movie altogether. You will not find a movie anywhere ever that revels in the act of breaking wind as this one does.

It turns out that Manny’s gasses can be used in a variety of ways, including as a propulsion system turning Manny into a kind of stinky Jet Ski that transports Hank from the desert island to a location of forest and ocean. The prospects are much better for survival here, and Hank builds…well, a recreation of his life for Manny because Manny is able to talk to Hank. Hank gives Manny tips on how to pick up girls and other assorted facts of life. As he does, we begin to learn that Hank is a deeply wounded and possibly deeply disturbed young man and that not everything he says can be trusted.

Which, once again, is a metaphor for this film. Not everything that the filmmakers show you can be trusted and as the story unfolds, our point of view is changed somewhat – more than somewhat, in fact. It is a bit of a carnie trick, a game of Three Card Monty that the filmmakers – a pair of young auteurs who got their start in the music video game and who are known collectively as Daniels – play on their audience. Some are going to feel a bit cheated and others will be delighted, as is usually the case in cinematic con games.

The movie is largely Radcliffe and Dano, with Winstead showing up mainly in the last reel as the object of obsession for both of the main characters, the living one and the farting corpse. There are other characters here as well but again, they show up late and have little impact on the story except to help bring it to an unexpected although not unsurprising conclusion given on what we witnessed in the rest of the movie. Dano has become known for parts like this and he performs it with gusto; this well may become one of his signature roles. Radcliffe continues to take chances while distancing himself from a certain boy wizard, and we are rewarded by a character who is sweet and funny and charming. I don’t know that Radcliffe will necessarily want to be remembered for being a flatulent cadaver but he seems to have promoted the role with a good sense of humor and a ton of enthusiasm.

There are some scenes that are heart-achingly beautiful here, as well as others that are downright crude. It is a literal mix of the profane and the sublime. I will say that this may well be the most imaginative movie of the year; certainly you won’t be seeing anything like it in the multiplex or at your local film festival. You may find yourself smirking at fart jokes, that lowest common denominator of all humor, but you will also find yourself thinking about the human condition. If the movie has a flaw, it is that the filmmakers seem to be completely aware that they have a high cinematic IQ and at times the movie feels a little condescending, a little hipper-than-thou.

Mostly though, this is an artistic endeavor that tickles the funny bone as well as the brain stem. I can’t say that every reader is going to fall for this the way I did. For that reason, I’ve given the movie a lower rating than it deserves; I can’t in good conscience say “everybody should go see this.” Everybody should not go see this. If your tastes run towards the adventurous, if you’re not easily offended by the scatological and if you are willing to allow yourself be taken in by the wonder, this is the movie for you.

REASONS TO GO: An imaginative exercise different than anything you’ve ever seen. It’s genuinely funny at times. This is truly movie magic on a budget.
REASONS TO STAY: This is most definitely an acquired taste. It may be a little bit too full of itself.
FAMILY VALUES: Plenty of gruesome images, some violence and brief nudity.
TRIVIAL PURSUIT: All of the songs in the movie are sung a cappella, mainly by Andy Hull of the Manchester Orchestra (who also cameos as a cameraman near the end of the movie) and Robert Powell.
CRITICAL MASS: As of 7/19/16: Rotten Tomatoes: 64% positive reviews. Metacritic: 62/100.
COMPARISON SHOPPING: Adaptation
FINAL RATING: 7.5/10
NEXT: The Fundamentals of Caring

New Releases for the Week of July 1, 2016


The BFGTHE BFG

(Disney) Mark Rylance, Ruby Barnhill, Penelope Wilton, Bill Hader, Jemaine Clement, Rebecca Hall, Rafe Spall, Matt Frewer. Directed by Steven Spielberg

A precocious 10-year-old girl in Victorian London meets a terrifying 24-foot-tall giant, who turns out to be not quite so terrifying at all. Gentle and sweet, the giant befriends the young girl and shows her around Giant Country and Dream Country, where the BFG (Big Friendly Giant) harvests dreams to give to human children. Unfortunately, other giants turn out to be not so friendly, and it will be up to the two of them to convince Queen Victoria that Giants do exist and that they have put the human world in grave peril.

See the trailer and clips here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Fantasy
Now Playing: Wide Release

Rating: PG (for action/peril, some scary moments and brief rude humor)

Hunt for the Wilderpeople

(The Orchard) Sam Neill, Julian Dennison, Rima Te Wiata, Rachel House. Ricky is a defiant kid who has been raised in the foster care system of New Zealand and weaned on hip-hop is deposited into the home of Aunt Bella and Uncle Hec, where he might actually have a chance to lose the attitude. However, unexpected events force Hec and Ricky to flee into the bush, resulting in a national manhunt. The two loners, who have relied only on themselves all their lives, are now forced to rely on each other as a family or go out in a blaze of glory. This Florida Film Festival favorite will be reviewed on Cinema365 tomorrow.

See the trailer and clips here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Comedy
Now Playing: Enzian Theater

Rating: PG-13 (for thematic elements including violent content, and for some language)

The Legend of Tarzan

(Warner Brothers) Alexander Skarsgård, Samuel L. Jackson, Christoph Waltz, Margot Robbie. The legendary Tarzan has left the jungles for a gentrified life as John Clayton, Lord Greystoke with his beloved wife Jane at his side. Appointed by Parliament as a trade emissary to the Congo, what he doesn’t realize is that he is being manipulated as a pawn in a game being played by greedy men. However, what they don’t realize is the force of nature they have unleashed on Africa.

See the trailer, interviews, a clip, a promo and B-roll video here.
For more on the movie this is the website.

Release Formats: Standard, 3D, IMAX 3D
Genre: Adventure
Now Playing: Wide Release

Rating: PG-13 (for sequences of action and violence, some sensuality and brief rude dialogue)

Marauders

(Lionsgate) Bruce Willis, Christopher Meloni, Dave Bautista, Adrian Grenier. After a bank is robbed by a group of brutal thieves, the evidence initially points to the owner and some of his high-powered clients. But as a group of FBI agents dig deeper into the case and more heists continue with the death toll rising, what seemed simple at first has become a heck of a lot more complicated – and further reaching.

See the trailer here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Action
Now Playing: AMC Loew’s Universal Cineplex

Rating: R (for strong violence, language, brief drug use and nudity)

Our Kind of Traitor

(Roadside Attractions) Ewan McGregor, Stellan Skarsgård, Damian Lewis, Naomie Harris. An ordinary English couple befriends a flamboyant and charismatic Russian while on vacation in Morocco. It soon turns out that their new friend is a money launderer for the Russian mob and he wants to co-operate with MI-6 in return for the guaranteed safety of his family. This brings the couple into a world of shadows and intrigue that they may not emerge from alive. From the novel by best-selling author John Le Carré.

See the trailer and clips here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Thriller
Now Playing: AMC Disney Springs, Cinemark Artegon Marketplace, Regal Winter Park Village

Rating: R (for violence, language throughout, some sexuality, nudity and brief drug use)

The Purge: Election Year

(Universal/Blumhouse) Frank Grillo, Elizabeth Mitchell, Edwin Hodge, Mykelti Williamson. Two years after Leo Barnes survived the Purge and stopped himself from committing an act of vengeance he might have regretted for the rest of his life, he has become head of security for a Senator who is running for President and if elected, promises to put an end to the Purge. This does not sit well with the powers-that-be and on this year’s Purge night, the two of them are betrayed and forced out into the streets where they are targets. This Purge may well be Leo’s last.

See the trailer, clips, a promo and a faux election video here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Thriller
Now Playing: Wide Release

Rating: R (for disturbing bloody violence and strong language)

Swiss Army Man

(A24) Paul Dano, Daniel Radcliffe, Mary Elizabeth Winstead, Richard Gross. Stranded on a deserted island, a man has given up all hope until a corpse washes up on shore. Curious, he discovers that the corpse has a life of its own and the two become fast friends. This inventive fantasy has gotten rave reviews for its imagination and heart and marks the feature debut of music video co-directors DANIELS. Looks to be the kind of movie that lovers of Michel Gondry might appreciate.

See the trailers here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Comedy
Now Playing: AMC Altamonte Mall, AMC Disney Springs, AMC Loew’s Universal Cineplex, Cobb Plaza Cinema Café, Regal Oviedo Marketplace, Regal Pointe Orlando, Regal Winter Park Village

Rating: R (for language and sexual material)

Youth


Michael Caine conducts himself with dignity.

Michael Caine conducts himself with dignity.

(2015) Drama (Fox Searchlight) Michael Caine, Harvey Keitel, Rachel Weisz, Paul Dano, Jane Fonda, Alex Macqueen, Madalina Ghenea, Mark Kozelek, Nate Dern, Alex Beckett, Mark Gessner, Tom Lipinski, Chloe Pirrie, Luna Mijovic, Dorji Wangchuk, Ed Stoppard, Robert Seethaler, Paloma Faith, Emilia Jones, Beatrice Walker, Rebecca Calder, Veronika Dash. Directed by Paolo Sorrentino

We all age. From the moment we burst out of the womb our bodies are decaying on the way to decrepitude. And for the record, there’s no such thing as aging gracefully; there’s only the appearance of it. When we age, we do so with a distinct absence of grace. We go kicking and screaming, flailing away like an epileptic mule, into that good night.

In a remote spa resort in the Swiss Alps, retired composer/conductor Fred Ballinger is vacationing with his daughter Lena (Weisz) who is also his business assistant, and his best friend Mickey Boyle (Keitel) who is a respected Hollywood screenwriter putting the finishing touches with a team of writers on his latest script, which he considers his “moral testament,” a work that he sees as his enduring legacy.

A representative (Macqueen) of the Queen of England is there to convince Maestro Ballinger to conduct one of his most famous pieces, Simple Songs #3, for Prince Philip’s birthday at which time he would receive his knighthood, but Ballinger adamantly refuses for “personal reasons.” Try as he might to pry it out of him, the rep is stymied. However, the Queen can be mighty persistent.

Boyle is writing a hell of a part for an actress whose career he helped launch, Brenda Morel (Fonda) but her reaction to the role is startling and disappointing. Both men are realizing that their best days are behind them, and that they are slowly leaving the things of their youth behind, even as they see those who worship youth flutter around them like so many broken songbirds.

Sorrentino, who directed the Oscar-winning The Grand Beauty, is clearly influenced by the great Federico Fellini. Like Fellini, he has a fascination for women and like Fellini, he has an appreciation for the surreal dreams. As with most Fellini films, Sorrentino populates Youth with the jaded rich, those who have become so used to being able to afford anything they want that there’s nothing they want that they can afford. The shallow values of these people collide with the gorgeous Alpine scenery.

Ballinger and Boyle (which sounds like either a London barrister or a French champagne) are the exceptions. They are bemused by the couples who sit through dinner silently, the South American superstar so famous nobody need even say his name, the wealthy chasing after lost youth as if they could find it again and even if they could, that they can somehow bathe in it and become young again.

There is a great deal of depth to the movie, and it’s the kind that you have to work for. You have characters passing in and out like the actor (Dano) known for playing a robot studying for a new part – and it’s not one that you’d expect. Then there’s the lonely mountain climbing teacher (Seethaler) who approaches Lena, who herself has been cheated on and tossed aside by her husband – who happens to be Mick’s son – and is rebounding in the arms of a gentler, kinder man.

Still, it is Michael Caine who is magnificent here. An actor as versatile as there has been in the last 50 years, if anyone in Hollywood has aged gracefully, he has. He plays a man who has shut away his emotions to the point that when they do come out, it’s a shock. They are most certainly there, but deep below his calm, upper class demeanor. While he dismisses his work as simplistic, there’s no doubt that they mean something very personal to him and even his daughter, whom he has never been able to express his feelings for, knows it. Caine has some of the best moments in the film, particularly a balcony conversation with Mick near the end of the movie that takes a shocking turn. I will always remember his character conducting the cows in the Tyrolean meadows as well as the birds and the wind, making a beautiful symphony only he – and we – hear.

Fonda also has a bravura moment with Keitel, coming off as perhaps the most Fellini-esque of the characters here, with her shrill demeanor, her dangling cigarette and her laid-on-with-a-trowel makeup that make her look like a party guest in a Fellini film. That leads into another sequence reminiscent of the great Italian director in which Mick’s leading ladies all appear in a meadow, repeating robotically the lines from their films.

When Mick tells Fred in a breaking voice “You say that emotions are overrated, but…emotions are all we’ve got,” he’s speaking for Sorrentino. While there’s a lot here to occupy the mind, this is ultimately a movie of the heart and it speaks directly to that organ more so than the one above the neck.

I would be remiss if I didn’t mention the soundtrack, particularly the contributions of Mark Kozelek (vocalist of the Red House Painters and Sun Kil Moon). His voice is as calming and soothing as any you’ll ever here; he’s literally human lithium. His version of Yes’ ”Onward” (written by the late great Chris Squire and the best song he ever wrote) is used three times during the film. It’s a beautiful song about love and perfectly underscores the themes of the movie.

Fellini is very much an acquired taste and not everything here is going to appeal to everyone. Sorrentino often flashes images of people or things seemingly at random, or juxtaposes images with dialogue or songs in a way that very much recalls the late director. Not everyone is going to like it but if you like Italian cinema of the 60s, or simply very good movies that appeal to both head and heart, you’re going to find something here to love. Of course if you’re a Fellini fan, so much the better; but those who find his style too pretentious might want to give this one a miss.

REASONS TO GO: There is truly some magic here. Caine’s performance is wonderful.
REASONS TO STAY: Occasionally pretentious and confusing.
FAMILY VALUES: Graphic nudity, some sexuality and some profanity.
TRIVIAL PURSUIT: Ghenea was 26 at the time of filming, which would have tied her for the honor of the oldest Miss Universe ever were she actually the part she plays.
CRITICAL MASS: As of 12/31/15: Rotten Tomatoes: 74% positive reviews. Metacritic: 65/100.
COMPARISON SHOPPING: La Dolce Vita
FINAL RATING: 7/10
NEXT: The Hateful Eight

Love and Mercy


Brian Wilson, just chillin'.

Brian Wilson, just chillin’.

(2014) Biographical Drama (Roadside Attractions) John Cusack, Paul Dano, Elizabeth Banks, Paul Giamatti, Jake Abel, Kenny Wormald, Joanna Going, Dee Wallace, Max Schneider, Graham Rogers, Nikki Wright, Tyson Ritter, Brett Davern, Erin Darke, Diana Maria Riva, Bill Camp, Johnny Sneed, Claudia Graf, Tonja Kahlens, Carolyn Stotesbery. Directed by Bill Pohlad

The word “genius” is often thrown about the media like a demented Frisbee, landing on both the deserving and the undeserving. Of the former category, one would have to include Brian Wilson, the man behind the Beach Boys sound. Those unfamiliar with popular music who think of the Beach Boys as the band solely of “California Girls” and “Surfing USA” clearly missed some of the great music of the era, exemplified with “Good Vibrations,” “Heroes and Villains” and “God Only Knows.”

Wilson, like many authentic geniuses, was tormented throughout most of his life. As a young man (Dano) when he was churning out hit after hit for the Beach Boys, his tyrannical and emotionally abusive father Murray (Camp), himself a frustrated former musician belittled his son’s accomplishments, especially after the band fired him as their manager. “In five years, nobody will remember you,” he sneers at one point, “Nobody will remember the Beach Boys.” Clearly, he was wrong.

However, Brian’s insecurities blossomed into full-fledged paranoia, exacerbated by drug abuse. The pressures of creating not only great music but music that sells began to take its toll not just on Brian but also within the band; Mike Love (Abel), the band’s lead vocalist, resisted change vigorously, wishing to stay with a tried and true formula, even though as Brian foresaw, musical tastes were changing rapidly and the Beach Boys were just as rapidly becoming irrelevant. Brian’s marriage to wife Marilyn (Darke) disintegrated and as his mental health deteriorated, he would enter a period of reclusiveness (rarely leaving his bed) and morbid weight gain, at one time clocking in at well over 300 pounds. Drug-addled and plagued by erratic behavior, his family worried for his health and sanity.

In the 1980s he came under the care of radical therapist Eugene Landy (Giamatti) who became his legal guardian. Landy separated Brian from his brothers and mother (his father had passed away in 1973) and essentially oversaw every facet of his life, making decisions for him. Brian at this time (Cusack) was a shell of a man, functioning but just barely so. During this period he met the beautiful blonde ex-model Melinda Ledbetter (Banks) at a Cadillac agency where she sold cars. The two hit it off and began dating, under the strict supervision of Landy who eventually made the couple separate. Ledbetter, concerned about Brian’s worsening condition, fought for and achieved Landy’s removal. She would eventually marry Brian and the two remain a couple today.

Pohlad has more experience as a producer than as a director, although he has been associated with Terrence Malick somewhat of late and that approach has served him well here, refusing to take the route of standard musical biopics and instead takes the more fragmented approach of the Todd Bridges Dylan bio I’m Not There which may have as much to do with employing that film’s writer Oren Moverman as writer here.

One thing (of many) Pohlad did right was the casting. Dano is a near-perfect choice for the young Brian, capturing both his fragile emotional state and his absolute mastery in the studio. The real Brian Wilson’s experiments with psychotropic drugs would lead him to auditory hallucinations that he still suffers from today; not only does Pohlad really give us a sense of what Brian was hearing (with snippets of classic Beach Boys riffs in amazing mash-ups by film composer Atticus Ross) but Dano sells it, showing Brian’s fascination and occasional frustration with the music he couldn’t escape even if he wanted to. We see how tormented he was outside the studio and how happy he was in it; as Brian and his bandmates gather around the microphone to sing the harmonies that justifiably made them famous, only then does Dano’s Brian Wilson look truly happy.

As the middle-aged Bryan, Cusack turns in one of the best performances of his career – and as many of you might know, I’m a big fan of Cusack so that’s saying something. The older Brian is a completely different person than the younger one, although they have much in common – which is what inspired Pohlad to cast two actors who don’t really resemble each other to play him. This Brian is damaged goods, completely dominated and cowed by the powerful personality of Landy who exudes cult-like control over the musician. Cusack resists the temptation to make Wilson a collection of tics and neuroses; he seems like a fairly normal guy until you spend a goodly amount of time with him.

Giamatti may well be the best villain of the summer; he plays Landy as a controlling tyrant with a terrible temper. He seems nice enough and compassionate at first glance but soon the sadistic side shows through the cracks. Giamatti imbues Landy with enough soft-voiced charm to make him seem like a coiled snake, able to strike at any moment. It’s a compelling performance that if this were released in the fall might be getting some serious Supporting Actor buzz. He might anyway.

Banks gets short shrift here because the other performances are so strong, but that doesn’t mean she’s a slouch. In fact, although at first Melinda seems like essentially just a pretty face, we get to see the core of steel inside her as the movie progresses. The one false note lies in the writing; I think that it would be natural for others to think Melinda is a gold digger – Landy brings it up near the end of the movie. However, it really isn’t addressed in the movie, how others other than Brian and Landy are reacting to her. I would have liked to see what the perception of her was among the Wilson family, although to be fair it’s likely that Brian upon whose recollections the movie is based may not have known.

Pohlad tries to give us a sense of what Brian was experiencing, using sound and lighting effects to give us a sense of his torment. I heard that some moviegoers walked out during one of these sequences at a screening attended by one of my friends. I didn’t find them especially offensive, but clearly some did for whatever reason.

Having seen the documentary The Wrecking Crew recently and knowing that  they were involved with recording the Beach Boys music in the studio gave me an extra perspective into the film. I’m not saying it’s required viewing prior to watching Love & Mercy but it certainly is an advantage.

This is definitely one of the best movies to arrive so far this year. Incendiary performances, imaginative storytelling, terrific music and insight into not so much the music that Brian Wilson created but the mental illness that may or may not have gone hand in hand with it.

REASONS TO GO: Terrific performances all around. Captures both eras nicely. Of course, the music.
REASONS TO STAY: Some of the scenes depicting Wilson’s mental issues may be confusing or even disturbing to some.
FAMILY VALUES: Definitely some adult themes, depictions of drug use and a fair amount of swearing.
TRIVIAL PURSUIT: Some of the studio scenes in which Brian and the Beach Boys are recording Pet Sounds were filmed in the actual studios where the iconic album was recorded. Most of the Wrecking Crew were portrayed by Brian Wilson’s current band and Dano used actual studio recordings to stop the band and instruct the musicians as to what he wanted.
CRITICAL MASS: As of 6/8/15: Rotten Tomatoes: 87% positive reviews. Metacritic: 80/100.
COMPARISON SHOPPING: I’m Not There
FINAL RATING: 9.5/10
NEXT: Time Lapse

New Releases for the Week of June 5, 2015


Insidious Chapter IIIINSIDIOUS CHAPTER III

(Gramercy) Dermot Mulroney, Stefanie Scott, Leigh Whannell, Angus Sampson, Lin Shaye, Tate Berney, Michael Reid MacKay, Steve Coulter. Directed by Leigh Whannell

The third installment in the popular horror series is a prequel, focusing on psychic Elise Rainier and her reluctant entry into the spirit world in order to help a family and in particular an innocent teen girl in grave mortal peril from angry spirits from the other side, detailing her first steps into the otherworld known as The Further.

See the trailer, clips, interviews, a featurette and B-roll video here.
For more on the movie this is the website.
Release Formats: Standard (opens Thursday)
Genre: Horror
Now Playing: Wide Release
Rating: PG-13 (for violence, frightening images, some language and thematic elements)

Barely Lethal

(A24) Hailee Steinfeld, Sophie Turner, Samuel L. Jackson, Jessica Alba. A young girl trained from childhood to be a deadly assassin has already tired of the life and yearns for a more normal adolescence. Determined to leave the life she never asked for, she fakes her own death and enrolls in a suburban high school. Her ex-handler and current nemesis discovers the ruse and sends an operative in to fetch her, which as you can guess the young lady in question isn’t planning to allow, particularly when her new friends and social circle are put in mortal danger.

See the trailer and stream the full movie from Amazon here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Spy Comedy
Now Playing: AMC Lake Square Leesburg
Rating: PG-13 (for sexual material, teen drinking, language, drug references and some action violence)

Entourage

(Warner Brothers) Kevin Connolly, Adrian Grenier, Kevin Dillon, Jeremy Piven.  Vincent Chase, a bona fide movie star surrounded by his friends from when he was young, is living the good life. Ari Gold, agent-turned-studio head who has a movie for his former protégé but Vincent isn’t biting – unless he can direct. The acclaimed HBO series/Hollywood satire hits the big screen in a move that is likely to skewer a few egos that need skewering.

See the trailer, interviews, a promo and fan video here.
For more on the movie this is the website.
Release Formats: Standard (opened Wednesday)
Genre: Comedy
Now Playing: Wide Release
Rating: R (for pervasive language, strong sexual content, nudity and some drug use)

Love and Mercy

(Roadside Attractions) John Cusack, Paul Dano, Paul Giamatti, Elizabeth Banks. Brian Wilson was the genius behind the Beach Boys sound and success. One of the most gifted composers and arrangers of his time, he was beset by demons of an abusive childhood and exacerbated by drug abuse. After a complete mental breakdown, he comes under the care of psychologist Dr. Eugene Landy whose motivations and methods become suspect. Emotionally fragile, he meets a courageous woman who helps him emerge from the darkness and back into his music.

See the trailer, clips and a featurette here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Music Biography
Now Playing: Regal Winter Park Village, AMC Downtown Disney, Cinemark Artegon Marketplace
Rating: PG-13 (for thematic elements, drug content and language)

Saint Laurent

(Sony Classics) Gaspard Ulliel, Jeremie Renier, Louis Garrel, Lea Seydoux. Designer Yves Saint Laurent was one of the iconic figures in fashion during the 60s and 70s. His couture changed the idea of fashion permanently and his ideas reverberate in the industry today; his lifestyle and personal problems kept the tabloids busy. He has been the subject of several films as of late; this is the most recent and features a performance by Ulliel that has been attracting some attention.

See the trailer and clips here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Fashion Biography
Now Playing: Regal Winter Park Village
Rating: R (for graphic nudity/strong sexual situations, substance abuse throughout and some language)

Spy

(20th Century Fox) Melissa McCarthy, Jason Statham, Jude Law, Rose Byrne. A CIA analyst with dreams of field work gets her chance when a ruthless arms dealer threatens world peace and because they are familiar with all of the field agents in the Agency, someone who isn’t known to them must infiltrate their organization and stop a global disaster from occurring.

See the trailer, clips, interviews and B-roll video here.
For more on the movie this is the website.
Release Formats: Standard (opens Thursday)
Genre: Spy Comedy
Now Playing: Wide Release
Rating: R (for language throughout, violence, and some sexual content including brief graphic nudity)

Unfreedom

(Dark Frames) Victor Banerjee, Adil Hussein, Bhanu Uday, Preeti Gupta. In New Delhi, a woman is placed in an arranged marriage that she doesn’t want to undertake because she’s in love with someone else; another woman, in fact. In New York City, a fundamentalist Muslim kidnaps a liberal Muslim scholar who has outspoken views about his religion. All four will come face to face with gruesome acts of violence that will affect their views on religion, sexual identity and family.

See the trailer and stream the full movie from Amazon here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Drama
Now Playing: Fashion Square Premiere Cinema
Rating: NR

Being Flynn


Note to self: no more unfunny comedies!

Note to self: no more unfunny comedies!

(2012) Dramedy (Focus) Robert De Niro, Paul Dano, Julianne Moore, Olivia Thirlby, Wes Studi, Lili Taylor, Eddie Rouse, Victor Rasuk, Liam Broggy, Chris Chalk, Thomas Middleditch, Sarah Quinn, Benjamin Foronda, Dale Dickey, Joshua Alscher, Dawn McGee, Billy Wirth, Michael Gibson, Kelly J. McCreary, Deidra O’Connell, Michael Genadry, Katherine Waterston. Directed by Paul Weitz

The relationship between father and son can be tricky. Not everyone who fathers a son can be a father. Often, whether or not we choose to accept it or even acknowledge it, the sins of the father are inherited by the son.

You wouldn’t think there was much of a chance of that in the case of Nick Flynn (Dano). He hasn’t even seen his dear old dad Jonathan (De Niro) in 18 years and has demons of his own to deal with. His mother (Moore) has recently committed suicide and he has continued to sink into a well of addiction, infidelity (his girlfriend has kicked him to the curb for both of these reasons if one wasn’t enough) and depression. He gets work at a homeless shelter, doing the kind of work that most people would shy away from – delousing new residents, bathing them, that sort of thing. Nick is a writer who has lost his muse; this could be a gold mine for him if he chooses to view it that way.

Unfortunately, Nick is too self-involved in a downward spiral of booze and guilt to see the opportunity and that spiral only gains speed when he finds his father taking a bed at the shelter. Jonathan, who is happy to tell you that he is the great American writer you’ve never heard of, has lost his only steady employment as a taxi driver and has been kicked out of his apartment for starting fistfights, is almost certainly suffering from some sort of dementia, growing more aggressive and misanthropic by the day until his antics get him ejected from the home, further straining the bonds between the two men. Both are if not at bottom pretty damn close; can they get past their demons and reclaim their relationship and use it to help each other rise above or are they destined for the same shabby fate?

De Niro has been in the pantheon of America’s greatest actors for decades although as of late he hasn’t had a truly memorable performance, sticking to mainstream comedies, mob roles that are a shadow of his triumphs with Martin Scorsese, and a few maudlin dramas here and there. This is a reminder of why he is De Niro, perhaps his most scintillating role since Casino which coincidentally was the last film he made to date for Scorsese. Jonathan is larger than life, an Irish bard with the edginess of a Holden Caulfield and the cynicism of a film critic. De Niro inhabits the role, giving us a man whose actions are unpredictable and mainly self-aggrandizing but there still remains somewhere buried deep among the bravado and the BS a decent human being.

Dano who has in the last few years begun to emerge as a pretty decent actor after years of playing the same sorts of roles has the thankless job of playing with De Niro but actually manages to hold his own. Nick refuses to acknowledge his own issues and like many addicts doesn’t see the dangerous reefs he is steering directly towards. There are times that his character is heart-rending but others when you just want to give him a good smack across the chops.

Also worthy of note is Moore in a brief but memorable turn as Nick’s mom and Jonathan’s ex. Even in the face of two really excellent performances she manages to stand out in her limited screen time. If I haven’t said it before, Julianne Moore is one of the best actresses in the world today and she deserves more discussion when it comes to that.

Where the production suffers is that Weitz (in all likelihood pressured by the studio) has made a kind of schizophrenic movie and I’m not even talking about the dual narration (we get the POVs of both Jonathan and Nick). What I mean to say is that there are times when the movie is edgy and gritty, but then others when it sinks into cliche. I get that this is based on a true story – yes, there really is a Nick Flynn and he really did run into his dad at a homeless shelter that he worked at – but there are some moments that really don’t ring true here.

This is one of those movies that came and went quickly with little fanfare or attention which is kind of a shame because De Niro’s performance alone is worth checking out. While the movie itself is flawed, there are some pretty good moments in the movie that you might want to give your attention to. If you haven’t already seen it, this is one of those movies worth watching when you’re looking for something different to watch.

WHY RENT THIS: De Niro is in top form here which is all you should really need.

WHY RENT SOMETHING ELSE: Sometimes goes cliche instead of edgy.

FAMILY VALUES: Lots of foul language, some sexual situations, some drug usage and alcohol abuse as well as some nudity.

TRIVIAL PURSUIT: The film was originally titled Another Bullshit Night in Suck City which is the same title that the memoir that it is based upon is titled but studio brass balked, feeling that it would alienate its potential audience before they even walked in the door.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $540,152 on an unknown production budget.

COMPARISON SHOPPING: One Flew Over the Cuckoo’s Nest

FINAL RATING: 7/10

NEXT: Asylum

The Good Heart


If it looks like a duck...

If it looks like a duck…

(2009) Drama (Magnolia) Brian Cox, Paul Dano, Isild Le Besco, Bill Buell, Booi, Susan Blommaert, Alice Olivia Clarke, Kim Songwon Brown, Stephen Henderson, Seth Sharp, David Moss, Dale A. Smith, Michelle Nelson, Henry Yuk Lui, Ed Wheeler, Clark Middleton, Stephanie Szostak, Edmund Lyndeck, Nicolas Bro, Daniel Raymont, Damian Young, Elissa Middleton. Directed by Dagur Kari

There is something inherently noble in a dive bar. It is the refuge of the lost, the lonely and the abandoned. It is a place for those who have given up on life as well as those who life has given up upon. It is a gin-soaked, beer-drenched haven of dignity for those who have none.

Crotchety old Jacques (Cox) owns just such an establishment in the center of New York City. Slovenly, suspicious, mean-spirited and set in his ways, Jacques limits his customers to 13 regulars and frowns on outsiders whom he contemptuously refers to as “walk-ins,” chasing them out with a bottle of vodka with a stream of ketchup in it in response for a request for a Bloody Mary with organic tomato sauce.

After his fifth heart attack, he finds himself sharing a room with homeless young Lucas (Dano) who is as kindly as Jacques is curmudgeonly. Jacques having a brush with mortality knows that his body will not sustain his lifestyle for much longer, and has begun giving thoughts to his legacy. He realizes that one thing he wants to remain after he shuffles off this mortal coil is his bar and determines to take in Lucas, who has nowhere else to go, as the heir apparent to his grandly named but less impressive on the inside House of Oysters.

Lucas, who was in the hospital after attempting suicide, is amiable enough to the idea although much of Jacques’ worldview is puzzling to him. “Never be nice,” he growls after Lucas treats one of the regulars with kindness. The world according to Jacques is a harsh place full of people who will take advantage of every fracture of weakness that your facade displays and to Jacques kindness equals weakness.

Lucas for his part is learning the niceties of bartending as well. “A good bartender always knows what his customer wants before he even knows it,” says the old school Jacques and Lucas very much takes this to heart. For his part, Lucas teaches Jacques that the way to make it through life isn’t necessarily through uncompromising adherence to one’s principles.

Into this mix one rainy night comes April (Le Besco), a stewardess afraid of flying. This is an egregious violation of Jacques’  longstanding “no women allowed” rule for the bar. This is enough to get his erstwhile protégé banished from the bar along with April, a fellow lost soul Lucas has fallen in love with. But what will become of Jacques’ legacy?

Icelandic director Kari, best known for his indie film Noi the Albino is shooting for a grimy look. The movie looks like it was filmed through a lens that hadn’t been cleaned in years. This is meant (I think) to be more of an allegory or a fable than something realistic and true to life despite the gritty feel. For one thing, I can’t imagine any hospital letting a kid who’d just attempted suicide just walk out of a hospital without at least some sort of plan for him to stay in a safe environment, not in a dingy old bar with an old man who just might be psychotic.

Cox is one of those character actors who almost never turns in a bad performance even when handed a turkey of a script. This one has quite a few flaws in it and inhabits the bar with eccentrics right out of the Lovable Movie Drunks for Dummies book. Cox interacts with all of them as if they were written by Shakespeare.

I tend to blow hot and cold with Dano. He has turned in some fantastic performances but also a few groaners as well. Here he is on the good side; his character has clearly been wounded deeply by some unnamed trauma in the past and while he doles out random (and sometimes not-so-random) acts of kindness, he sees himself as unworthy of life. Some of the kindest people I’ve ever known are the hardest on themselves.

There aren’t really any big laughs here and that might well be by design. One of the faults I have with this movie is I don’t think they are set on whether this needs to be a comedy or a drama and so tries for something in between. Not that combining the two can’t be done well, but I think the movie would have been better-served at picking a path and sticking with it.

I can recommend just about any movie with Brian Cox in it and a lot of them with Pau Dano in them. This one I think has just enough depth to it to be worth a look-see for those who haven’t caught it yet but I wouldn’t recommend putting too much effort into it; there isn’t enough here to make it worth digging to find.

WHY RENT THIS: Good performances from Cox and Dano. Gritty where it needs to be.

WHY RENT SOMETHING ELSE: Ceaselessly drab. Quirky more than funny.

FAMILY VALUES: A fair amount of cursing and a disturbing image.

TRIVIAL PURSUIT: Kari, born in Paris to Icelandic parents who moved him back to their home country at the age of three, is also a member of the band Slowblow.

NOTABLE DVD EXTRAS: As with most Magnolia home releases, there is an HD-Net making-of special.

BOX OFFICE PERFORMANCE: $343,818 on an unreported production budget.

COMPARISON SHOPPING: The Extra Man

FINAL RATING: 6/10

NEXT: X-Men

12 Years a Slave


Could this be the next Best Picture Oscar winner?

Could this be the next Best Picture Oscar winner?

(2013) Historical Biography (Fox Searchlight) Chiwetel Ejiofor, Michael Fassbender, Paul Dano, Adepero Oduye, Benedict Cumberbatch, Paul Giamatti, Sarah Paulson, Lupito Nyong’o, Alfre Woodard, Brad Pitt, Garret Dillahunt, Isiah Jackson, Dwight Henry, Kelsey Scott, Quvenzhane Wallis, Devyn A. Tyler, Willo Jean-Baptiste, Scoot McNairy, Taran Killam, Ashley Dyke. Directed by Steve McQueen

The question we sometimes have to ask about a movie depicting a horrible epoch in human history is why. Why should it be made? After all, it’s not exactly a secret that slavery was a terrible, shameful practice. But do we need to be reminded of that?

I believe that we do. In the same way movies like Schindler’s List reminds us of the holocaust, or Hotel Rwanda reminds us of the horrors of genocide, we need to remind ourselves periodically of the depths of inhumanity that man practices upon other men. We need to be reminded as Nicol Williamson once accurately (albeit bombastically) said in Excalibur that it is the doom of men that they forget.

Solomon Northup (Ejiofor) is a prosperous man in Saratoga, New York in 1841. While he is a black man, he is nonetheless freed and is well-known as a magnificent violinist but also a hard-working carpenter. His wife Anne (Scott) is highly respected as a great cook. They have beautiful children and as African-Americans in the mid-19th century go, a pretty wonderful life.

Then, he is approached by a couple of men calling themselves Hamilton (Killam) and Brown (McNairy) who represent themselves as entertainers in need of an accompanying musician. They are going as far south as Washington, DC. The money is good and the company congenial so Northup agrees to lend his services.

He awakens in chains in a slave market. Gone are his clothes, his papers identifying him as a free man and even his name – he is to be called Platt now. He is sold by the dealer (Giamatti) to Ford (Cumberbatch) who runs a sugar cane plantation near New Orleans. There he goes with the disconsolate Eliza (Oduye) who has been separated from her children. However, Northup gets into a fight with the cruel and barbarous carpenter Tibeats (Dano) who for some reason has it out for Solomon (possibly because Northup was a better carpenter) and for the safety of his slave and of his plantation, the kindly Ford is forced to sell Platt to the cruel Edwin Epps (Fassbender) who runs a cotton plantation.

Epps expects 200 pounds of cotton to be picked by each one; those who fail are lashed cruelly. The best cotton picker is Patsy (Nyong’o) who does three times what the burly men of the plantation can do. Epps has taken an unhealthy sexual interest in her which infuriates his wife (Paulson) who visits cruelties and mutilations upon Patsy. Solomon for his part is keeping his head down low, making sure nobody knows that he can read and write. When Solomon meets an itinerant Canadian carpenter (Pitt), he knows his last chance to get word to those in the North of his whereabouts may be staring him in the face.

Based on the memoirs of the real Solomon Northup, I’m told the film follows the book pretty closely – McQueen insisted on it. While I can’t personally vouch for that, I can say that this is an incredible story told with as much authenticity as the filmmakers can muster. That this is a British production is somewhat ironic that it takes a foreign eye to shed light on an American disgrace.

There is a good deal of brutality. When slaves get whipped, pieces of flesh fly from their back and the resulting cuts are hideous to behold. It’s not easy to watch but this was the reality of what happened. Too often Hollywood portrays a whipping as a grunting actor, jaw heroically clenched against the pain as lines of red appear on his back. In reality, whippings were horrid affairs with a good deal of screaming and bloodshed. To his credit, McQueen doesn’t turn the eyes of the camera away and we see the brutality in unflinching detail.

Ejiofor has long been one of those actors who has been patiently waiting the right role. He’s finally found his. One of the best actors you’ve never heard of out there, he plays Solomon with dignity, with fear and with humanity. Solomon is a smart guy and occasionally able to manipulate Epps but his own inner fire gets him into trouble sometimes. He is a shoo-in for an Oscar nomination come January and is an early favorite to win it.

Fassbender has been busy of late and might get a Best Supporting Actor nomination for his layered and nuanced performance as Epps. Certainly Epps is a cruel and vicious master, but he is also henpecked by his wife to a certain degree and a slave to his own lust for Patsy. Epps could have easily been portrayed as a caricature of a plantation owner; yes, there is evil here but it isn’t cartoon evil but the evil that slavery creates in the slaveowners.

Nyong’o is a newcomer but her performance as Patsy may bring her the kind of notice new actresses dream of. Patsy is the face of despair in the film and Nyong’o handles it with a certain dignity that at once is moving and disturbing. When the despair overwhelms her and she begs Platt to end her misery, one wonders how many slaves took that road off the plantations. Probably many more than we realize – when hope is dead, the will to live generally dies with it.

This is a movie that is certain to be considered for Oscar gold this year and is going to make a lot of year-end top ten lists. While it may be considered an education about slavery, I see it more as a metaphor for the continued inhumanity that we enforce on others. The message here isn’t that slavery is  bad; I’m pretty sure we all get that. It’s how we treat each other today and how our ability to enslave others has informed that treatment that makes this movie so important. While I would hesitate to bring small children to see this, I think parents should bring their teens. Opening the eyes of a younger generation isn’t necessarily a bad thing.

REASONS TO GO: Impeccably acted by Ejiofor and Fassbender. A living breathing testament to the horrors of slavery.

REASONS TO STAY: The violence and brutality can be overwhelming at times.

FAMILY VALUES:  There is plenty of violence and scenes of torture and cruelty. There is also some nudity and sexuality, as well as a few graphic images that may be too intense for the sensitive.

TRIVIAL PURSUIT: Henry and Wallis both co-starred previously in Beasts of the Southern Wild, also distributed by Fox Searchlight.

CRITICAL MASS: As of 11/6/13: Rotten Tomatoes: 96% positive reviews. Metacritic: 97/100.

COMPARISON SHOPPING: Amistad

FINAL RATING: 10/10

NEXT: Italian for Beginners

The Extra Man


Kevin Kline wants you to know this is a PRIVATE phone conversation and listening in on your part is very rude.

Kevin Kline wants you to know this is a PRIVATE phone conversation and listening in on your part is very rude.

(2010) Romance (Magnolia) Kevin Kline, Paul Dano, John C. Reilly, Marian Seldes, Celia Weston, Patti D’Arbanville, Dan Hedaya, Jason Butler Harner, Alex Burns, Katie Holmes, Alicia Goranson, Lynn Cohen, John Pankow, Lewis Payton, Marisa Ryan, Elizabeth Blancke-Biggs, Jackie Hoffman, Justis Bolding, Beth Fowler, Victoria Barabas. Directed by Shari Springer Berman and Robert Pulcini

The world needs extra men, men who radiate charm and elegance. Men who are gentlemen, refined raconteurs of taste and breeding. Men who escort wealthy old ladies to the opera and to art gallery openings with aplomb. Men like Henry Harrison (Kline).

Louis Ives (Dano) is a substitute teacher who is courtly and sweet-natured but likes to cross-dress when nobody’s looking. He comes to the Big Apple looking to make something of himself but can’t afford the sky-high rents for apartments in the city. He comes across a listing that Harrison has posted subletting his apartment and Louis, lacking much in the way of choice, takes it despite Harrison’s somewhat eccentric behavior.

Like Harrison himself, the apartment has seen better days and as Louis gets work in an office where he develops a shy romance with co-worker Mary (Holmes), Harrison is training Louis in the fine art of being an extra man. He also falls into the man’s orbit where his circle of quirky friends, including the shaggy Gershon Gruen (Reilly) speaks in an ear-shattering falsetto.

Like a lot of independent movies, The Extra Man places a heavy reliance on characters who are just a little bit out there – or in some cases here, a lot out there. If you watch a lot of indie films, you might get the idea the New York is bursting at the seams with oddballs and eccentrics, kooky sorts who are tolerated with warmth and affection and make the fruits and nuts of Southern California look positively Midwestern.

This is Kline’s movie although ostensibly Dano is the lead. It is Kline whose Henry will capture your imagination and attention from the first moment he steps onscreen until well after the closing credits have run. I have always had a great deal of affection for Kline in such movies as A Fish Called Wanda and The January Man and it has not diminished over time.

Dano is one of those actors who seem better served taking outside the mainstream roles. He’s at his best when his characters are just a bit off-beat. That is certainly the case here and he pounds out a solid performance that allows his natural charm and sweetness to show through. While he doesn’t quite distract enough attention from Kline (and honestly, there are few actors today who can hold their own with him) he certainly can point to this entry on his resume with pride.

I enjoyed this enough to recommend it although not effusively; this is a movie that will occupy your imagination for a short while but probably not too long before something else gets your attention. While I find myself cringing whenever I see a New York eccentric indie film, at least once the initial knee-jerk twitch passed I found myself consumed. You can’t ask much more of any film than that.

WHY RENT THIS: Kevin Kline. Oddball charm.

WHY RENT SOMETHING ELSE: Extra-high quirkiness quotient. Sometimes seems more like a series of scenes in search of a plot.

FAMILY VALUES: There is a bit of sexual content and some adult themes.

TRIVIAL PURSUIT: There is an HDNet feature on the film as well as a look at the animated voiceover trials and tribulations of becoming ducks.

NOTABLE HOME VIDEO EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $457,867 on a $7M production budget.

COMPARISON SHOPPING: American Gigolo

FINAL RATING: 6/10

NEXT: Timeline