Liza, Liza, Skies are Grey


Life’s a beach.

(2017) Coming of Age (Ocean) Mikey Madison, Sean H. Scully, Kristin Minter, Kwame Boateng, Valerie Rae Miller, Adele René, James Austin Kerr, John-Paul Lavoisier, Madison Iseman, Eric Henry, Samira Izadi, Kris Park, Shamar Sanders, Robert John Brewer, Nandini Minocha, James Liddell, Thomas Archer, Evelyn Lorena, Jessica Bues, Kathryn Jurbala. Directed by Terry Sanders

 

Growing up is no easy task. It never has been. Growing up in 1966, for example; kids had a lot on their plate. The Vietnam war was raging, sexual revolution was in full swing, drugs were becoming a thing, the atomic bomb being dropped by the Soviets was a real worry and parents were becoming absorbed in their own issues, so much so that they didn’t have time to think about their kids who were floundering in the surf without a life preserver in sight.

Liza (Madison) is a sweet girl. She plays the cello in the school orchestra, and is interested in the social interests of the day – the war, racial injustice, and so on. Ever since her father inexplicably killed himself, she and her mother (Minter) have been distant. Mom is certain that Liza hates her; Liza doesn’t hate her mother so much as is puzzled by her. Liza’s been dating another sweet boy, Brett (Scully). Liza is also reaching her sexual awakening. She’s still a virgin, but she doesn’t want to remain that way. Curious and forthright, she feels the need to ask her cello teacher (René) about her experiences with men. Of course, being an awkward 15-year-old, she phrases it this way – “You’ve slept with a lot of men, haven’t you?”

Unfortunately for Liza, her mother doesn’t approve of Brett and tries to set her up with an older guy who turns out to be a lot less nice than mom thinks. Mom’s horrible boyfriend (Lavoisier) also makes an attempt to “seduce” Liza although most would call it an attempted rape. Worst of all, Brett who ha been living with his aunt, has been summoned by his father to live with him in New York which will mean the end of his nascent relationship with Liza. Determined to be “his first,” she and Brett take a road trip on his Triumph motorcycle (another reason Mom is less than overjoyed about Liza’s taste in boys) up the California coast, meeting up with creepy hotel clerks, happy hippies and redneck bikers most of whom have designs on Liza.

Sanders won an Oscar producing a documentary; that’s to the good. To the bad, he’s an octogenarian trying to tell the story of a teenage girl’s sexual coming of age. I don’t think he got the memo that there are some stories to tell that old men probably don’t have a clue about. I’m not saying that only teenage girls can make movies about teen girls discovering their sexuality but I think it helps if the filmmaker was a teen girl at some point.

The micro budget for the film didn’t allow for a real immersion into 1966 so there are mainly inserts of news footage, anti-war handbills posted on walls and shots of areas of Los Angeles that haven’t changed much since that era. There are also a smattering of era jargon like “groovy” and “far out.”

The dialogue here is more than cringeworthy, it is basically unlistenable. Real human beings don’t talk like this. Real human beings never talked like this. It doesn’t help that the cast is obviously uncomfortable with the words they’re speaking as their delivery of said dialogue is mega-stiff, as if the actors know that the words they’re speaking are anything but authentic. I would feel for the cast except there is a real sense that none of them want to be there. The delivery is rushed, the body language between Brett and Liza is unconvincing and none of the performances stand out. From a writing standpoint it feels like a juvenile novel written by someone who can’t remember what it is to be young.

There are some sweet moments – as when Liza dances to the ad jingle for Virginia Slims cigarettes, singing along with the catchy tune – and then sneering to Brett “We’ve come a long way baby. Now we can get cancer too.” It’s one of the better lines of dialogue although it may be anachronistic; I am not sure the surgeon general’s report on the link between cancer and cigarettes had come out by 1966. It may have but I can’t be bothered to look it up as I normally would; I don’t think enough of my readers are going to bother to see this. Needless to say, sweet moments like that are few and far between in the film.

The movie is a mess unfortunately. The cast is young and earnest and I hope that they don’t get discouraged by the film. There are plenty of good movies being made and hopefully some of them will find one to sink their teeth into; it’s truly hard to make a determination of underlying talent when a movie is so magnificently fouled up from a writing and directing standpoint. However, I have to say that this is extraordinarily hard to sit through and I feel as if I should get some sort of medal for doing so. Feel free to check it out if you have a masochistic streak in you, but don’t say I didn’t warn you.

REASONS TO GO: There is some sweetness in some of the scenes.
REASONS TO STAY: The dialogue is absolutely dreadful. The acting is stiff and unrealistic and the actors are obviously sending strongly worded emails to their managers about choosing better projects.
FAMILY VALUES: There is some nudity, a smattering of profanity, plenty of sexuality and a couple of scenes of attempted rape.
TRIVIAL PURSUIT: The movie’s title is taken from the 1929 George Gershwin song “Liza (All the Clouds’ll Roll Away)” the best-known version of which was performed by Al Jolson.
CRITICAL MASS: As of 8/21/17: Rotten Tomatoes: 29% positive reviews. Metacritic: 37/100.
COMPARISON SHOPPING: Girl Flu
FINAL RATING: 3/10
NEXT: Turn it Around: The Story of East Bay Punk

Advertisements

LA 92


Where were you in ’92?

(2017) Documentary (National Geographic) Rodney King, Daryl Gates, Tom Bradley, Maxine Waters, Henry Alfaro, Stacey Koon, Bernard Kamins, Theodore Briseno, Danny Bakewell, Charles Duke, David Kim, Laurence Powell, Darryl Mounger, Eric “Rico” Reed, Terry White, Stanley Weisberg, Bryan Jenkins, John Barnett, John R. Hatcher III, Cecil L. Murray, Rita Wallace. Directed by Daniel Lindsay and TJ Martin

 

This year marks the 25th anniversary of the 1992 Los Angeles riots. There have been a number of documentaries that have been made to commemorate the event, including Burn, Motherf*cker, Burn and Let It Fall but for my money this is the best of the lot.

Filmmakers Lindsay and Martin take the bold step of utilizing no talking head interviews; the movie is made up entirely of archival footage and contemporaneous interviews that aired on the TV news and news magazine programs of the day. That’s a bit of a double edged sword in that while there is no “Monday morning quarterbacking” there is also no real analysis of the events; we are left to come to our own conclusions.

One of the best things about the documentary is that it show that the violence that erupted in April following the not guilty verdict for the cops that beat Rodney King didn’t occur in a vacuum. The filmmakers take great care in beginning with the events of the 1965 Watts riots that left 34 people dead (mostly African-Americans) and show the various incidents that led to a powderkeg growing in South Central Los Angeles.

In the era of Daryl Gates, the Los Angeles Police Department had become the enemy in the African-American neighborhoods of Los Angeles. Police brutality was not uncommon in the arrests of African-American suspects and to say that the police had an adversarial relationship with the black community is something of an understatement.

The powderkeg became primed when video surfaced of a brutal beat down of Rodney King, who led the police on a high-speed chase. King, an ex-convict out on probation, was driving while intoxicated and knew he would be sent back to prison if he was arrested. When he was ordered to get down on the ground, officers thought he was reaching for a weapon. A taser was used on King and then the horrifying beating in which cops used nightsticks as well as vicious kicks to hospitalize King.

It would have not gone beyond that except that a local resident named George Holliday, witnessing the incident used his brand new camcorder to capture the beating. When the cops showed little interest in the tape, he sent it to the news media. The resulting controversy caught the nation by storm and put the LAPD under a microscope. Although by that time I was living in Northern California, I grew up in Los Angeles and remember being ashamed to be an Angelino when this was going on.

Criminal charges were brought against the officers involved and the trial was moved to the mostly white suburb of Simi Valley. When the not guilty verdict was brought in, African-Americans were justifiably outraged, particularly since Korean shopkeeper Soon Ja Du had gotten off without serving jail time after shooting 15-year-old Latasha Harlins in the back of the head over a misunderstanding involving orange juice that he accused her of trying to shoplift.

The riot footage is brutal and disturbing. People are pulled out of their cars and beaten within an inch of their lives because of the color of their skin. Shops are torched and looted. The outpouring of fury was exacerbated by a stunning lack of leadership in the LAPD which led to police being withdrawn from the area which was left on its own to burn.

The riots took place before the ubiquitous use of smart phones to document everything, so mostly the footage comes from news sources although there is some home video footage that is shot, including the King beating which was one of the first examples of citizens using home video equipment to capture breaking news.

As a document of the riots and what led up to them, the documentary is superb. It presents the footage unemotionally and gives us some context that we didn’t have when the riots were going on. Yes, we don’t get a thoughtful analysis of how it changed the lives of those involved or how society in general was affected by them – other documentaries do a better job of that – for coverage of the riot itself and the immediate events that led to it the film is second to none.

The LA riots have continued to resonate over the years, leading directly to the Black Lives Matter movement which seems to indicate that there hasn’t been a whole lot of progress in the past quarter century, although ironically there has been in Los Angeles where the LAPD has become one of the most tolerant and most progressive police forces in the country. Still, it is disheartening that we continue to have the problems we do with racial relationships even given the events of the past 25 years.

This is a sobering documentary in which the old adage “two wrongs don’t make a right” is very much at issue. It shows what can happen when people feel pushed into a place where there is no other way out. It is also a warning that the powderkeg in South Central is also present everywhere and not just in African-American neighborhoods. Given the right circumstances, the kind of violence and horror that unfolded in April 1992 in South Central Los Angeles can happen anywhere.

REASONS TO GO: The filmmakers give the riots a great deal of context. Some of the archival footage is absolutely amazing. Some unsung heroes are brought to the forefront
REASONS TO STAY: This is definitely not for the faint of heart.
FAMILY VALUES: There are scenes of violence and disturbing images as well as profanity including racial epithets,
TRIVIAL PURSUIT: The film was nominated for a 2017 Emmy for prime time documentary merit.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Vudu, YouTube
CRITICAL MASS: As of 8/11/17: Rotten Tomatoes: 86% positive reviews. Metacritic: 66/100.
COMPARISON SHOPPING: OJ: Made in America
FINAL RATING: 8/10
NEXT: City of Ghosts