Lean on Pete


We all need somebody we can lean on.

(2017) Coming of Age Drama (A24) Charlie Plummer, Steve Buscemi, Travis Fimmel, Amy Seimetz, Steve Zahn, Chloë Sevigny, Rachel Perrell Fosket, Alison Elliott, Jason Rouse, Lewis Pullman, Justin Rain, Frank Gallegos, Teyah Hartley, Kurt Conroyd, Dennis Fitzpatrick, Jason Beem, Rusty Tennant, Tolo Tuttele, Francisco Garcia, Joseph Bertot, Dana Millican, Julia Prud’homme. Directed by Andrew Haigh

When we are desperate, it’s like we’re drowning; we reach out for whatever might be at hand in order to save ourselves. Often what we find is the most unlikely of life preservers.

Charley (Plummer) is a typical teen; he’s not high on high school but he is a decent football player and enjoys the camaraderie of the team. He lives with his dad (Fimmel) on the wrong side of the tracks in Portland – his mom has been out of the picture for some time now – and his Aunt Margy (Elliott) has had a huge argument with his dad and the two don’t speak to each other anymore although Charley still remembers Margy with some fondness.

Dad is a bit of a ne’er-do-well who has trouble hanging on to jobs but not, as it turns out, to the bottle. He’s initiated a romance with a married (but separated) woman who is kind to Charley. Charley is more focused on getting ready for the football season – it is the middle of summer after all – and while out running he stumbles into a world he never knew existed.

Del (Buscemi) raises quarter horses for racing on the independent circuit which means fairs and carnivals and on tracks that the English with their peculiar sense of understatement might term “dodgy.” He does so with a mixture of gruff charm and world-weary irascibility. Charley is quite taken with him and manages to get a job mucking out stables, walking the horses and doing whatever menial task Del needs done. Charley becomes enamored with a horse named Lean on Pete who is nearing the end of his usefulness to Del which means the equine is one step away from being ground into pet food in Mexico. Charley doesn’t know that though.

However, things change as they inevitably do and not for the better which Is usually the case for people like Charley. He ends up taking a journey with Pete that will take him to unexpected places as he vaguely searches for his Aunt and some sort of normal life that seems to be completely out of reach for him. This might be his only chance to get one.

This looks on the surface very much like “a boy and his horse” kind of movie in which the horse teaches the boy something about courage and determination and helps the boy turn his life around. This isn’t that kind of movie at all, however. Based on a novel by Oregon-based writer Willy Vlautin, the film has a number of unexpected turns of events that in at least one instance caused a startled “Oh!” to pass my lips That’s not easy to do, I can tell you.

Buscemi who remains an independent film icon has been on a bit of a hot streak for the past several years following Boardwalk Empire. His performances have become less quirky and more grounded and as a result he’s become more relatable as a performer. He in fact has become an actor whose films I will see just by the virtue that he’s in them. He’s absolutely magnificent as a tough guy who quite clearly does not have a heart of gold and is not a father figure; he is a survivor who has gotten that way by not getting too attached to people or horses He’s not a bad guy but he isn’t above cheating to win a race. Del exits the movie fairly early on and when he does, the movie isn’t as good.

Plummer though plays Charley so low-key as to be almost comatose. For good or for ill much of the movie’s success rests on his young shoulders and at the moment, at least for me, he’s not up to the job. I don’t feel drawn to Charley and I was indifferent as to what happens to him. In a lot of ways, I felt like I was marking time while viewing the film which is certainly not the reaction any filmmaker wants but quite frankly there are entire sequences that could have been easily cut without effecting the integrity of the film.The truth is that this is a 90 minute movie in a two hour time slot.

Plummer does get the bond between Charley and Pete just right to be fair, and that might be enough to draw horse lovers into the film and that’s an audience that quite rightly will probably appreciate the movie more than someone like me who is more of an admirer of horses than a lover of them. The movie has gotten some fairly praiseworthy reviews from critics I normally trust but I have to say that I didn’t connect with the film as much as they obviously did. Perhaps it’s just me after all.

REASONS TO GO: Buscemi is outstanding in his role. Horse lovers will be drawn to this film without a doubt.
REASONS TO STAY: Plummer plays this way too low-key. The movie is way too long by about half; there are entire sequences that could have been cut without harming the movie.
FAMILY VALUES: There is a fair amount of profanity, brief violence and a disturbing image.
TRIVIAL PURSUIT: The film was shot in chronological order.
CRITICAL MASS: As of 5/17/18: Rotten Tomatoes: 92% positive reviews: Metacritic: 80/100.
COMPARISON SHOPPING: Flicka
FINAL RATING: 5.5/10
NEXT:
Back to Burgundy

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Gone


Amanda Seyfried wants to have a talk with her agent.

Amanda Seyfried wants to have a talk with her agent.

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

Woman Power

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

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

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

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

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

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

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

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

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

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

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

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

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

True Story


Jonah Hill takes James Franco's order in the studio commissary.

Jonah Hill takes James Franco’s order in the studio commissary.

(2015) True Life Drama (Fox Searchlight) Jonah Hill, James Franco, Felicity Jones, Maria Dizzia, Ethan Suplee, Conor Kikot, Charlotte Driscoll, Stella Rae Payne, Robert John Burke, Byron Jennings, Gretchen Mol, Betty Gilpin, Seth Barrish, Robert Stanton, Michael Countryman, Steve Routman, Genevieve Angelson, Adam Mucci, Auden Thornton. Directed by Rupert Goold

It is the journalist’s calling – or at least their job – to seek the truth, or at least the truth that can be proved by facts. It isn’t always easy to do, particularly when you’re dealing with clever liars and master manipulators.

Mike Finkel (Hill) was a respected reporter for the New York Times – he’d written eight cover stories for the coveted Sunday magazine. It was the eighth that got him into trouble; feeling the pressure to make the story readable, he’d consolidated events and characters into a single kid while doing a piece on abuses at a West African cocoa plantation (in reality, the real Finkel got in trouble for a piece on the continued slave trade coming out of Africa). His career in tatters, he runs home to his wife Jill (Jones) in Montana. It appears that he will have to find something else to do with his life.

Then he gets a call from Pat Frato (Suplee), a journalist at the Portland Oregonian who delivers some startling news. Apparently Christian Longo (Franco), a man accused of brutally murdering his entire family, had been apprehended and apparently had been masquerading as a former reporter for the Times  – three guesses which one and the first two don’t count.

Curious as to why Longo would choose his identity to steal, Finkel arranges to get some interview time with Longo. Finkel becomes fascinated – Jill might say obsessed – with the charismatic and handsome Longo, who seems to have everyone around him wrapped around his little finger. He seems to be genuinely and deeply grieving for his murdered family. He also is taking an interest in learning how to write, the more to be like Mike.

The more time Finkel spends with Longo, the less certain he is of his guilt. Finkel begins to dig into things and discovers eventually that not everything – nor everyone – is as it seems around these parts. Soon Mike must make the choice as to whether he thinks that Longo is a master manipulator who is playing the tune that everyone around him dances to, or if he is truly innocent and bereaved.

This is based on the real Mike Finkel’s memoirs about the case and his experiences with Christian Longo. In all honesty, there are a lot of fact fudges in here which is a bit ironic because the whole theme of the movie is trust and lies. First time filmmaker Goold has extensive experience directing stage plays and in most of the interior pieces it shows with literally just a succession of one and two shots that shows little understanding of the depth of the big screen compared to the stage.

What is more disturbing is the lack of energy displayed here. Yes, the setting is the Pacific Northwest and there is a constant shroud of rain and fog on the exteriors, and we don’t see the sun in virtually any of this film other than flashbacks or New York City. But it seems like the cast is in the fog as well; not quite zombies but like everyone pulled an all-nighter and is falling asleep where they’re standing.

Hill and Franco are more or less the exceptions, and the chemistry they have together is undeniable but long story short it isn’t enough to elevate this film which is actually adequate enough in terms of entertainment value mainly because of the two leads and the compelling story. Unfortunately the attempts to make it a morality play kind of fall a bit flat.

REASONS TO GO: Hill and Franco make a good team. Nice Pacific Northwest vistas.
REASONS TO STAY: Lacks energy and inertia. Doesn’t really inspire passion in the audience.
FAMILY VALUES: A fair amount of foul language, some disturbing images and unsettling thematic material.
TRIVIAL PURSUIT: The fingerprint pattern on the movie’s poster is actually made up of the word “LIES” printed over and over again.
CRITICAL MASS: As of 4/27/15: Rotten Tomatoes: 47% positive reviews. Metacritic: 50/100
COMPARISON SHOPPING: Murder in the First
FINAL RATING:
6/10
NEXT:
Kumiko, the Treasure Hunter

If I Stay


A dream that is a waking nightmare.

A dream that is a waking nightmare.

(2014) Romantic Fantasy (New Line/MGM) Chloe Grace Moretz, Jamie Blackley, Mireille Enos, Joshua Leonard, Aisha Hinds, Stacy Keach, Liana Liberato, Gabrielle Rose, Jakob Davies, Ali Milner, Gabrielle Cerys Haslett, Lauren Lee Smith, Adam Solomonian, John Emmet Tracy, Chelah Horsdahl, Christine Wiles, Arielle Tuliao, Sarah Grey, Aliyah O’Brien. Directed by R.J. Cutler

There is a fine line between cathartic and manipulative. We can generally use the former, but we usually get the latter instead. One doesn’t necessarily mind being manipulated though, as long as it’s done for a good cause.

Mia Hall (Moretz) – no relation to Monty – has a great life. She lives in Portland, Oregon with exceptionally cool parents. Dad (Leonard) was a member of a seminal alt-rock band from the 90s and Mom (Enos) was and is an artist. She has a little brother (Davies) she adores and has discovered a talent for playing the cello that might just get her into Julliard if she isn’t careful.

Even better, she has a boyfriend named Adam (Blackley) who fronts his own indie rock band that looks like it might be getting signed to one of those hip indie labels – not those un-cool dinosaur major labels that haven’t been relevant since the iPod came out, mind you. Because everything connected with Mia’s life is unmentionably hip.

It all changes in an instant. A car crash on a snowy road leaves Mia hovering between life and death. Her body is in a coma, tubes sticking out of every which way (and she manages to look angelic in her coma, rather than like the gaunt entity most coma patients tend to look like. Of course, most coma patients don’t have a Hollywood make-up man to help them look their best while they’re fighting for their lives.

However, Mia’s spirit is running around, flashbacking like crazy and going through a period of terrible angst. You see, Adam and Mia had just split up when the crash occurred. She might be waking up with nobody in her life except her heartbroken grandpa (Keach) to take care of her. Does Mia want to stay in a life that would be intolerably painful, or does she want to slip into oblivion?

Based on a young adult novel, the movie neatly sidesteps any spiritual discussions although we are at times treated to bright lights which indicate some sort of afterlife I suppose, although Mia doesn’t see any dead people which is proof positive that M. Night Shyamalan didn’t make this movie. She doesn’t have any encounters with anyone in fact – she is all alone even though she is surrounded by everybody including a sympathetic nurse (Hinds) who implores her to fight.

Moretz has emerged into a bright young talent with all sorts of cinematic presence. She needs to expand her emotional repertoire a little bit but otherwise she is fully capable of being an A list star for the next 30 years if she chooses the right roles. She has the most impressive doe eyes in Hollywood at the moment and the camera loves that but she has a tendency to be a better actress when she lets loose a little bit more than she does here. Mia is fairly closed-off and that kind of role doesn’t suit Moretz as well.

I did like Leonard and Enos very much as Mia’s folks. They are down-to-earth and still clearly in love with each other. They are perhaps a little too cool to be true – I can’t imagine there’s a teen who sees this film that wouldn’t want them as their own parents. While I loved the characters a lot, I ended up wondering if it would have served the movie better if they had been a little less perfect.

I did like the irony that while Mom and Dad love the hip rock that the kids love, Mia rebels against them by going full-on classical. Alex from A Clockwork Orange would have made a fine Droog out of her no doubt although I’m not sure Mia would have loved the ultra-violence as much as she loves good ol’ Ludwig van.

There was a really good, insightful movie to be had here but having not read the book this is based on, I’m not sure if it is the fault of the source material or the screenwriter that interpreted it. The basic question is whether or not life is worth living in the face of intolerable pain and rather than talk to the target audience as if they had brains and ideas in their head, the filmmakers opt for the easy way out and go with the slam dunks instead of the three point shots that would have made this truly memorable. One of the big mistakes that I think the movie makes is at the very end it tells you how she chooses. I think had they left her final choice ambiguous – did she stay or did she leave – the movie would have been far more powerful.

Cheap tears can make the viewer feel good but when all is said and done, the viewer is more than an emotional marionette. Give them credit for being thinking people who can handle tough questions and complicated concepts. While I realize that most people are lazy and will choose spoon-fed nearly every time out, maybe if they had the option to go to movies that engaged not just their hearts but their heads we might all end up surprised.

REASONS TO GO: Moretz is rapidly becoming a strong leading lady. Enos and Leonard as the indie rocker parents are wonderful.
REASONS TO STAY: Disappointing ending. A little bit too manipulative for my taste. Needed a dose of reality particularly in the characters who were largely caricatures.
FAMILY VALUES:  A little teen sexuality, some fairly adult thematic material.
TRIVIAL PURSUIT: Moretz had a very difficult time learning the cello. At last a cello-playing body double was enlisted and Moretz’ head inserted into the frame digitally.
CRITICAL MASS: As of 9/10/14: Rotten Tomatoes: 38% positive reviews. Metacritic: 47/100.
COMPARISON SHOPPING: Heaven Can Wait
FINAL RATING: 5/10
NEXT: When the Game Stands Tall

Rid of Me


The dark side of Katie O'Grady.

The dark side of Katie O’Grady.

(2011) Dramedy (Phase 4/Submarine) Katie O’Grady, Art Alexakis, Theresa Russell, John Keyser, Storm Lange, Melik Malkasian, Betty Moyer, John Breen, Orianna Herrman, Ritah Parrish, Melinda Chilton, Geno Romo, Angie Rutan, Julie Vhay, Cora Benesh, Emily Galash, Jana Lee Hamblin, Brendan Robinson, Leslie Taylor, Adrienne Vogel. Directed by James Westby

They say hell hath no fury as a woman scorned and there is some truth to that. However, if you’re the scorned woman, how do you get to the point where you become more furious than Hell itself?

Meris Canfield (O’Grady) seems to have a rock-solid marriage with her husband Mitch (Keyser). They have recently moved from Southern California to the small Oregon town where Mitch grew up. Everyone there seems to have married their high school sweetheart and mousy Meris suddenly becomes the odd woman out. Despite her best intentions, the snobby clique that Mitch was part of freeze her out and she realizes that they have more in common with Mitch than she does.

History can bite you in the ass in that regard and Mitch decides that he would have been better off with his high school girlfriend Briann (Lange) so he divorces Meris and it’s out with the old, in with the new. Or maybe out with the new, in with the old if you look at it a certain way.

In any case, Meris isn’t willing at first to give up – she still loves Mitch. But as she gets a job at a candy store and her obsessive and compulsive stalking of her ex grows more pathetic, she falls in with a bunch of punk girls. The Pacific Northwest, you might recall, was Ground Zero for the riot grrl movement and ladies are grown non-conformist out there.

As Meris becomes more enamored of the culture of these punks she begins to learn more about who she is as a person and more importantly, who she wants to be. What she wants is to be a great big middle finger to society and to her POS husband and his snooty friends who quite frankly are the sort of people that you really wish bad things would happen to.

This is all about Meris’ growth as a person and you need someone strong in the role – someone who can play mousy, conformist and something of a wanna-be Stepford Wife, but also someone who is just as comfortable as a street urchin/punk goddess/what are YOU looking at sort. O’Grady makes every phase of Meris’ development realistic and believable. I don’t know O’Grady’s work well but if this is any indication, you should keep a sharp eye out for any other movie she’s done.

My issue with the film lies with the director. Too many camera tricks, unnecessary zooms, and movement otherwise known as “Look Ma, I’m Directing” syndrome. That kind of thing can be a sign of a director who is lacking the confidence in his own abilities to tell a story and has to resort to all sorts of visual gimmickry to get noticed – trust me Mr. Westby, you’ve got what it takes. You don’t need to get all gimmicky on us to make the movie worth seeking out.

In any case, this is one of those films that you’ve probably never heard of but nonetheless is worthy of the attention of any film buff. This isn’t the kind of movie that reinvents the wheel, but O’Grady’s performance is simply put, unforgettable.

WHY RENT THIS: An extraordinary performance by O’Grady. Ruggedly nihilist.

WHY RENT SOMETHING ELSE: Look ma, I’m directing!

FAMILY VALUES: Some foul language and suggestive material.

TRIVIAL PURSUIT: The movie was shot in Multnomah Village near Portland where director Westby has lived most of his life.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $11,740 on an unreported production budget.

COMPARISON SHOPPING: Trainspotting

FINAL RATING: 6/10

NEXT: Cold in July

Before You Know It


Ty at the crossroads of his life.

Ty at the crossroads of his life.

(2013) Documentary (Unraveled) Robert “The Mouth,” Ty, Dennis. Directed by PJ Raval

Florida Film Festival 2014

Prior to the Stonewall Riots of 1969 in New York, there was no Gay Liberation. Gay men were marginalized as freaks and sissies and were subject to harassment, bullying and arrest without cause. The courts treated gay men – and women – with contempt.

Fast-forward forty-plus years. The men of that era are senior citizens now. The world is changing around them, much of it due to the hard work and organizing of their generation. Some of them had a hand in those changes themselves.

Ty, for example, remains an activist with SAGE, a group that creates a space where the elderly gay can gather, socialize and let off steam in a safe environment. He is based in Harlem, which as he notes has no gay bars. New York is on the cusp of legalizing gay marriage and they are heady times in the Empire State. At a local street fair celebrating the African-American experience, SAGE sets up a booth. Ty is a bit worried how the straight black citizens will react but as it turns out they are much more accepting than he expects.

Ty, like his peers, is overjoyed when the state ratifies same sex marriages but that leads to a different sort of situation. His partner, Stanton, is not so sure he wants to get married. Both Ty and Stanton are getting on in age and Stanton thinks that a wedding at their age would be superfluous, a point of view that Ty doesn’t agree with at all. However, Stanton seems to be open to keeping the lines of communication on the subject open.

Dennis splits his time between Niceville, Florida and Portland, Oregon in a retirement home geared towards gay and lesbian residents. His family in Florida isn’t aware of his sexual orientation; he was married for many years to a woman who was aware that Dennis liked (and continues to like) to dress up in women’s clothing. When he’s in full drag he calls himself Dee and reminded me a little too uncomfortably much of my mother-in-law, facially.

It wasn’t until after his wife passed away that Dennis finally felt free to explore his sexuality as a gay man and it seems like he is being pulled slowly out of his shell by the open and accepting population of Rainbow Ridge, the retirement home in Portland. He signs up for a gay cruise and even marches in a gay pride parade in Portland. Feeling neglected and forgotten by his family in Florida, he seems ready to sever ties and take up full-time residence with his new family in Portland.

Robert “the Mouth” has known he was gay from an early age. He is the owner of Robert’s Lafitte bar in Galveston which has become something of a home for the drag queens and gay men of the area. His nephew helps Robert run the bar although Robert still continues to perform occasionally in the drag show that the bar continues to present regularly.

Robert’s health is failing, due in large part to a lawsuit being brought against the bar because a patron of the bar drove home drunk and got into an accident, killing the members of the family bringing the suit against the bar. While there is some evidence that the patron in question may have stopped at another bar to drink further, Robert’s nephew is fully aware that if they lose the suit, the bar will have to close, leaving a lot of locals without a home.

The stories are blended together nicely without giving any one of the three short shrift. All three of the stories are compelling but none more than that of Robert. He is as lively and outrageous a queen as you’re likely to meet but despite the acerbic comments and insults he dishes out with great glee, there’s a big heart there. He has a big personality and a big wit. He’s the kind of guy you want at every party.

Ty is more the grandfatherly sort, a man who wears his wisdom on his sleeve. He’s not really the flamboyant sort but he is passionate about his cause and works very hard to make the world a better place – at least his corner of it – for the gay men and women of his community. I admire him tremendously after seeing his story here.

I was struck by Dennis’ loneliness. He seems to be a man who has been in a cocoon for most of his life and is just beginning to peer out and realize that he’s a butterfly, but there’s a shyness to him that’s endearing and a little sad. There are times he seems to be waiting for something to happen for him; I hope that he gets the self-confidence to make something happen.

I wish that Raval had been a bit more judicious in the editing bay. He spends too long on the three Gay Pride parades that he covers (well, one’s a Mardi Gras parade but still) and he tends to linger on certain scenes a little more than he needs to.

Still, the stories are compelling enough to be worth a look. Each one brought out a different emotion in me; joy in the case of Robert “The Mouth” (a cultural icon waiting to happen if ever I saw one), sympathy in the case of Dennis/Dee and respect and admiration in the case of Ty. These are three men who I wouldn’t mind spending time with, gay or straight. At a certain point, sexual orientation doesn’t matter because in the end that’s just a label – it’s the person behind the label that does.

While the movie is still playing the Festival circuit, for those who are unable to attend a screening it is available on DVD from the film’s website which you can get to by clicking on the picture at the top of the review.

REASONS TO GO: Fascinating stories. Robert “The Mouth” bound to become a cultural icon if this gets any sort of distribution.

REASONS TO STAY: Runs a little bit too long.

FAMILY VALUES:  Some nudity and some bad language.

TRIVIAL PURSUIT: The film debuted at the 2013 South by Southwest Film Festival.

CRITICAL MASS: As of 4/6/14: Rotten Tomatoes: no score yet. Metacritic: no score yet.

COMPARISON SHOPPING: And the Band Played On

FINAL RATING: 6.5/10

NEXT: Ernest and Celestine

The Burning Plain


This is what it's like to be stalked by a dark, handsome stranger.

This is what it’s like to be stalked by a dark, handsome stranger.

(2008) Drama (Magnolia) Charlize Theron, Kim Basinger, Jennifer Lawrence, JD Pardo, Tessa Ia, John Corbett, Robin Tunney, Joaquim de Almeida, Rachel Ticotin, Jose Maria Yazpik, Danny Pino, Anthony Escobar, Stacy Marie Warden, Debrianna Mansini, Kacie Thomas. Directed by Guillermo Arriaga

In a relationship we take it on faith that our partner will be faithful to us. Of course, that doesn’t always happen. The consequences of infidelity can be far-reaching and are not always paid just by the one doing the cheating.

Gina (Basinger) is a housewife who has embarked on an affair with another man, who is also married but not to her – ruggedly handsome Nick (Almeida). They meet in a ramshackle mobile home stuck out in the middle of the New Mexico desert not far from where Gina lives but far enough off the beaten track that there’s no auto traffic. Gina and Nick’s little love shack however proves to be not as safe a place as they thought – and there they meet a tragic end.

Gina’s daughter Mariana (Lawrence) is trying to cope with her mother’s death. Both her family and Nick’s family are at odds with one another, each blaming the other family’s relative for being the catalyst for the affair leading both of them to their doom. Nick’s son Santiago (Pardo) is desperate to find answers and he initiates a conversation with Mariana which blooms into something more.

Sylvie (Theron) is the manager of a high-end restaurant in Portland, Oregon. She is affected by an air of melancholy which is exacerbated with routine bouts of loveless sex, temperamental behavior and frequent absences from work. She smokes incessantly, staring at the sea and the waves crashing on the rugged coastline. She is being followed by Carlos (Yazpik), a mysterious man who speaks no English.

Santiago (Pino) is a crop duster who knows his business backwards and forwards. When his plane crashes in a terrible accident, his daughter Maria (Ia) is heartbroken. Santiago makes his good friend go looking for her mother up North, a woman who suddenly and inexplicably abandoned her family after Maria was born.

If you thought this was a movie from Mexican filmmaker Alexander Gonzalez Inarritu, you’d be half-right – this is from his regular writer Guillermo Arriaga. Entwined storylines that gradually coalesce into a single cohesive story is something of a trademark with Inarritu; Arriaga is unfortunately less successful with it here.

It’s not because he didn’t have the right actors. The three female leads give incendiary performances albeit all tinged with melancholy and heartache. Lawrence, who has since gone on to win an Oscar and become one of the most acclaimed young actresses in Hollywood, is a teenager whose own emotions are a seething cauldron of confusion to her; she feels rage at her mother’s betrayal but also grief for her passing. It’s not an easy part to play and she does a good job playing it.

Basinger has the thankless role of playing a woman in a marriage that seems happy on the outside betraying her family. It’s not the kind of thing that makes a character lovable or one you want to identify with; in fact these kinds of actions tend to make audiences feel uncomfortable with that character and yet Basinger gives the character warmth and relatability. Gina is a good mom and a good wife (other than the infidelity thing) but Nick let’s her access a part of her that her marriage and family life no longer allow – her sense of being an individual, a sexual being and someone who is desirable and desired. That’s a powerful feeling and one that we all need to feel, regardless of our marital status.

Theron is icy cool at the movie’s beginning, closed off and emotionally guarded. Sylvie lives in a sterile environment that betrays nothing about her and love for her has become a series of meaningless sexual trysts. As the movie progresses and we begin to learn more about her, we see the terrible burden she bears. Theron wisely let’s Sylvie’s guard down in fits and starts and as her walls crumble, so too does the movie excel.

The movie’s downfall comes from its storytelling style. All of the stories are interweaved and as the movie progresses we realize that they aren’t concurrent – they take place in different timelines. This can be confusing to the audience as they struggle to figure out who’s who and as more of the plot gets revealed the story should be coming together but in some ways it isn’t too hard to guess what’s going on but in others it really is because Arriaga is so deliberately vague. It’s quite maddening at times.

Still the power of the performances and the storyline make this worthwhile at the end of the day. Just be warned that a good deal of patience is required and a little bit of observation. It’s easy to lose yourself in the acting, particularly the women. It might however distract you from following the storylines you need to be aware of in order to make sense of this.

WHY RENT THIS: Terrific performances by Basinger, Theron and Lawrence.

WHY RENT SOMETHING ELSE: The jumps between stories and timelines makes the film choppy and unfocused.

FAMILY VALUES: There is some brief nudity and plenty of sexuality as well as a bit of foul language. Mostly it’s adult in a thematic sense.

TRIVIAL PURSUIT: Arriaga spent 11 years as a screenwriter (most notably for Alejandro Gonzalez Inarritu) before choosing this novel, one of the most acclaimed in recent years written in Mexico, as the basis for his directing debut.

NOTABLE HOME VIDEO EXTRAS: There’s an interesting featurette on the musical scoring of the film, a segment that rarely gets attention on home video extras.

BOX OFFICE PERFORMANCE: $5.5M on a $20M production budget; unfortunately the movie hasn’t recouped its production costs.

COMPARISON SHOPPING: Unfaithful

FINAL RATING: 6.5/10

NEXT: G.I. Joe: Retaliation