Moonlight Sonata: Deafness in Three Movements


Better to soar among the eagles than walk with the turkeys.

(2019) Documentary (Abramorama/HBOJonas, Paul, Sally, Colleen, Matthew, Irene. Directed by Irene Taylor Brodsky

 

As someone who loves movies and music, my senses of sight and hearing are particularly precious to me. As such, I tend to feel a tremendous pity for those who lack one or both of those senses. How can someone without those senses appreciate the grandeur of Laurence of Arabia attacking Aqaba or the soaring Maurice Jarrė score that accompanies it? It seems to me to be an irreplaceable loss – but there are other compensations that perhaps I failed to take into account.

Brodsky is the child of two deaf parents, Paul and Sally, who received cochlear implants while in their sixties. She and her siblings are all hearing, so they were in some ways insiders to the challenges their parents faced without perhaps understanding them fully, as those possessed of a sense can never truly understand what it is to be without it. How does one, after all, describe a world of silence to someone whose world is filled with noise?

She is also the mother of a deaf son, Jonas, who was born hearing but gradually lost his ability to hear when he was four. He was then given cochlear implants and when the documentary was filmed, was 11 years old who most of us would never realize he had any sort of hearing issue.

Music is also important to Jonas and he is taking piano lessons. He tells his piano teacher Colleen that he wants to learn Beethoven’s Moonlight Sonata which his teacher tells him he doesn’t hav the skills for et. Jonas is insistent and at last Colleen relents. After all, Beethoven wrote the piece during a time when his hearing was failing him. Was that a motivating factor in Jonas’ desire to play it, or did he merely like the piece? We never find out for sure; at least, not from Jonas.

This is a very personal film for Brodsky and in many ways that makes it more difficult to review. Not because I believe she’s going to ever read this review, although I like to think she might someday, but it feels too much like I’m reviewing her family life. She is clearly devoted to er children and her parents, and although we see little interaction between the director and her husband Matthew, we see him comforting and encouraging his son and realize that he is a good man. The relationship between Jonas and his grandparents is a special one and the elder couple obviously adore their grandson even when they chide him over being sloppy when using American Sign Language.

As the film progresses, we see that Paul – one of the inventors of TTY technology which allows deaf people to use the telephone – is beginning to show signs of oncoming dementia. He is forgetful and sometimes loses focus on what he’s doing. When Brodsky lovingly but firmly tells him that she can’t allow him to drive her children any longer, it is a truly emotional moment; Paul not understanding why she’s come to this decision, Sally tearfully asking him to stop arguing. Many viewers who have undergone similar discussions with their own parents or grandparents will feel compassion.

In the background looms the ghost of Beethoven, his music providing a soundtrack. Quotes from his letters pop up throughout the film and animations depict him (but curiously always as an outline, never as a fully realized figure) linking him with a solitary bird flying within sight but definitely separate from the flock.

Jonas is, at the end of the day, a fairly typical 11-year-old boy. There are things about him that are admirable, there are other things in which he is less so. He sometimes tries to con Colleen into thinking that he’s doing better with the piece than he actually is but she’s having none of it; she holds him accountable but never in a cruel or vicious way. She simply calls him on his bull when he is espousing some. I don’t know that I would have liked my life immortalized when I was eleven; I would like to hope that I would handle it as well as Jonas does here.

Brodsky has two other children who show up incidentally and always with Jonas; the clear focus is on her eldest son. I wonder what her kids thought about that or how they handled not being the center of mommy’s attention. Still, it takes a certain kind of courage to turn your cameras on your kids when you know that the footage isn’t going to be shown just to family and a few long-suffering friends but to the entire world, or at least that part of it that subscribes to HBO (this film will be available on the premium content channel later this fall).

Like any life, there are ups and downs in the film. We get to see Jonas playing the Sonata at a recital and we get to see the difficulties that the grandparents face as old age robs Paul of memory and cognitive thought. He is just in the beginning stages here but the ordeal to come is one that many children are sadly familiar with and it’s hard not to feel compassion for Paul, Sally and their family. The road ahead won’t be easy for them.

I found that Brodsky dividing her film into movements to be kind of gimmicky and arbitrary; the first movement seems to be about beginnings, the second about the journey and the final about destinations but that’s over-simplifying. I thought the movie would have been better without it. Using Beethoven as a linking device doesn’t always work either.

But let it not be said that there are not moments here of exquisite grace; Jonas takes off the external device of his cochlear implant to practice, rendering him deaf but also removing the distractions of sound. Jonas speaks of how when the implant is off, he can just play for the sheer joy of it. When the implant is in and working, he can hear his every mistake and every one gnaws at him. He has not yet gotten to the point where he understands that imperfections are okay, that mistakes aren’t the end of the world. We all would like to be flawless but none of us achieves it truly (other than my dog Penelope but that’s another story entirely). Our mistakes make us human and our humanity makes us beautiful. It’s the aspiration to be flawless that is wonderful, not the achievement of it.

REASONS TO SEE: This is probably as close as the hearing are ever going to get to understanding what it’s like to be deaf.
REASONS TO AVOID: The division of the film into movements seems arbitrary and gimmicky.
FAMILY VALUES: Suitable for all ages.
TRIVIAL PURSUIT: Brodsky’s previous documentary on her deaf parents, Hear and Now, was nominated for an Oscar.
CRITICAL MASS: As of 9/23/19: Rotten Tomatoes:82% positive reviews: Metacritic: 57/100.
COMPARISON SHOPPING: Sound and Fury
FINAL RATING: 6.5/10
NEXT:
The Guernsey Literary and Potato Peel Pie Society

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The Buskers & Lou


The slack life.

(2014) Drama (RandomMarshall Walker Lee, Megan Carver, Tyler Andre, Margaret Douglas, Robert Thrush, Jordan Wilgus, Steven Felts, William H. Wilson, Nickolas Mitchell, Ethan Zinn-Brown, Luke Potter, The Crow, The Wolf, Wes Lysiak, Skylar Jensen, Shay Bjorndahl, Perla Bonilla, Erin O’Connor, Alexandra Metaxa, Katerina Georgiou. Directed by Alex Cassun

 

Welcome to being a grown-up. I know it’s not something you particularly wanted to do; it just happened. There’s no real prize for getting here and it tends to be a pain in the you-know-where. For your trouble, however, you get free elevated stress levels. Isn’t that nice?

Lou (Lee) returns to his home town of Portland after an absence of an unspecified number of years; his friends are at first happy to see him back but more as a curiosity and Lou isn’t really forthcoming about where he’s been and why he’s back. Some, of course, are happier to see him than others.

Lou had been a street musician, playing for pocket change and using what he made “busking” for what things he needed – mainly food and alcohol. He’s determined not to resume that lifestyle however; he wants a job and a life, but considering that he’s never really had gainful employment before it’s not easy to find anything other than a dead-end minimum wage job which he takes.

Lou is crashing for now in his friend Jackie’s (Carver) van where she also lives; the two are, as friends in close quarters often will, start to get on each other’s nerves. Lou spends time talking to a therapist (Wilson) on a park bench when he’s not trying to navigate the rat race, much to the contempt of his friends.

You see, they are all continuing to busk and live life on their own terms and are all the happier for it. They have an event to look forward to; ten years prior they (including Lou) had buried a time capsule in the yard of a house some of them owned. They have decided to dig it up and are organizing a party, called “The Big Dig” to celebrate it. Lou has been inviting but he is often a no-show for things that he is invited to these days.

I don’t think I’ve seen a movie that made me feel quite so much like a crotchety old man in quite some time. This is a young person’s film dealing with young person’s issues and there is absolutely nothing wrong with that. Happiness is important to these characters as it is indeed to all of us; most of us in the rat race aren’t necessarily there because we don’t want to be happy. Even mind-numbing make-work kinds of jobs can occasionally give us a feeling of satisfaction and/or accomplishment though.

There is almost a contempt for people who work here at times an that might be irritating to those who actually, you know, work. Portland can be a great place for street musicians but not all of us live there; I get that the artistic mentality is different from that of the working class and just as valid in its own way but I can see how those who work hard just to tread water might be a little bit insulted by this.

The performances are pretty decent considering that the cast is largely locals and unprofessional. I suspect Cassun comes from a musical background because his soundtrack choices betray a really good ear. The problem I had is that I couldn’t get into most of the characters; there was nothing here for me to grab onto and as a result I found myself less and less enthused about finding out what happens to Lou and his friends. By the time the Big Dig rolls around, the mystery behind Lou’s disappearance is revealed (you should be able to figure it out) and I didn’t really care very much about it to begin with.

I try to give low-budget indies a pass for the most part and it’s plain to see that the director invested heart and soul into this film but sometimes that isn’t enough. I need to be invested in the lives of the characters; I need to care about what happens to them. I need to be excited about what comes next. None of that ever happened during the film. As you can tell by the release date, it’s been bopping around the Festival circuit and otherwise sitting on the shelf for five years until Random Media got hold of it for home video release. They believe in the film and maybe you will to once you see it but this was one I never found myself connecting with.

REASONS TO SEE: Tackles the age-old question of happiness versus adulting.
REASONS TO AVOID: A little bit of a bore.
FAMILY VALUES: There is a fair amount of profanity.
TRIVIAL PURSUIT: The house where the “Big Dig” takes place is actually the rehearsal space for the Portland-based band Typhoon.
BEYOND THE THEATER: Amazon, Google Play, Vudu, YouTube
CRITICAL MASS: As of 8/11/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Portlandia
FINAL RATING: 5/10
NEXT:
Them That Follow

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

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

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