Never Gonna Snow Again (Sniegu juz nigdy nie bedzie)


Zhnia knows where his massages rank.

(2020) Dramedy (Kino Lorber) Alec Utgoff, Maja Ostraszewska, Agata Kulesza, Veronika Rosati, Katarzyna Figura, Lukasz Simlat, Andrzej Chyra, Krzyfsztof Czeczot, Maciej Drosio, Olaf Marchwicki, Astrid Nanowska, Wojciech Starostecki, Jerzy Nasierowski, Konstantin Solowiow, Blanka Burzynska, Adrian Podlaski, Lena Wochal, Casper Richard Petersen, Maria Seweryn. Directed by Malgorzata Szumowska and Michal Englert

 

Remember when it seemed as if everyone in the movies was wealthy and white? The pendulum has swung in a differing direction and now it feels like movies tend to be about marginalized groups more often than not, superhero movies notwithstanding.

Into a toney, gated community on the edge of a big Polish city, comes Zhenia (Utgoff), a handsome, enigmatic young man from the Ukraine with a serene smile and the magic hands of a trained masseuse. He speaks Russian, and as he gets a residents permit for plying his trade in the development he informs the bureaucrat that he lived in Pripyat, the village just outside of Chernobyl. Zhenia was just seven years old when the reactors blew.

He is accepted in the community as not only a wonderful masseuse but an excellent listener, even if some of the residents are concerned that he might be radioactive. He does seem to have some supernatural ability to take away pain and anxiety, even for a little while. He also can hypnotize his clients and from time to time move objects with the power of his mind.

Several of the middle-aged women in the community have become infatuated with Zhenia, including Maria (Ostraszewska), an exhausted mother whose children are contemptuous of her, Wika (Rosati) whose husband (Simlat) is dying of cancer although with almost blind optimism he assures everyone around him that he is indeed getting better, and a woman (Figura) whose devotion to her bulldogs approaches a kind of mania. But who is Zhenia, why is he there, and what does he hope to accomplish before the demons of his past catch up with him?

Movies like this can go one of two ways; one is the mythic, which is not the way Never Gonna Snow Again goes. The filmmakers, veteran Polish auteur Szumowska and her longtime cinematographer Englert, who shares directing credit with her here. While Zhenia has at times some Christ-like qualities, this really isn’t a Christian parable. Instead, there is a lovely bittersweet feeling here, almost elegiac in places. The greys and blues that are the bulk of the palate that Englert uses make this ideal rainy-day viewing.

\Utgoff is tremendous here. Zhenia is a bit of a cypher, releasing information about himself in dribs and drabs, but Utgoff makes him compelling. He moves with a dancer’s grace (and in fact, Zhenia dances a ballet at a couple of points in the movie) and with an impressive physique is bound to make a few hearts of those who find such men attractive go pitter pat. Utgoff has a good deal of charisma, but wisely knows when to use it and when to be less forthcoming. The end result is that Zhenia turns out to be something of a blank slate that the other characters (and the viewers) project their own interpretations on.

And Englert is nothing less than spectacular as a cinematographer here. If he toiled in Hollywood, he’d be getting regular Oscar nominations – his shot compositions are some of the finest you’ll ever see in a movie. Szumowska has the experience to know when to let the images speak for themselves and doesn’t always clutter them with dialogue. It makes for an almost spiritual feeling in certain places.

The one criticism I’d make about the movie is that the plotting sometimes feels too static; we get these wonderful images and some compelling business but it doesn’t always take us anywhere. In that sense, this is a movie that is better experienced than watched passively. Let it wash over you and make you a part of it rather than trying to figure it out might be the best way to go, because if you choose the latter course, you may end up feeling frustrated at several points in the movie.

There is some satire here, and some pointed, sharp humor as well as some social commentary (the title itself is a reference to climate change) and some thoughts about Polish nationalism – a trend which seems to be running in a number of Western nations lately, including our own. However, the points are rarely made more than gently and subtly, and while some characters appear to be taking stands in favor or against one cause or another, we are never preached to, at least overtly.

\All in all, this is the kind of movie that weaves its own magic and you’ll either be enchanted by it, or you won’t. I do think you need to be in the right frame of mind for it (which, I suppose, is true for any movie) but it is worth the effort. This is the kind of movie that will stay with you for a long while afterwards.

REASONS TO SEE: Utgoff is compelling. Beautiful shot composition. A wonderfully bittersweet tone.
REASONS TO AVOID: The story is kind of static in places.
FAMILY VALUES: There is nudity, some profanity, sexual overtones, and plenty of smoking.
TRIVIAL PURSUIT: This was Poland’s official submission for the most recent Best International Feature Oscar.
BEYOND THE THEATERS: Virtual Cinema
CRITICAL MASS:As of 8/3/2021: Rotten Tomatoes: 94% positive reviews; Metacritic: 70/100.
COMPARISON SHOPPING: Teorema
FINAL RATING: 8/10
NEXT:
Who Are You, Charlie Brown?

A Good Day to Die Hard


Why some guys will go see A Good Day to Die Hard.

Why some guys will go see A Good Day to Die Hard.

(2013) Action (20th Century Fox) Bruce Willis, Jai Courtney, Sebastian Koch, Mary Elizabeth Winstead, Yulia Snigir, Cole Hauser, Amaury Nolasco, Megalyn Echikunwoke, Anne Vyalitsyna, Rasha Bukvic, Melissa Tang, Catherine Kresge, Sergei Kolesnikov, April Grace. Directed by John Moore

One of the most successful action franchises of all time is the Die Hard series. Each one pits New York cop John McClane (Willis) against a parade of really nasty bad guys who over the years have included Alan Rickman, Jeremy Irons, Timothy Olyphant and William Sadler.

The fifth in the franchise isn’t located in the States. In fact, the action takes place all the way East in Russia (Moscow) and the Ukraine. McClane goes over to the former Evil Empire to see his estranged son Jack (Courtney) who is going on trial there for unknown charges. McClane feels a lot of guilt for the chilly relationship he has with Jack and not only does he want to see what he can do to help his son get off the hook (unlikely) but also what he can do to mend some fences (even more unlikely).

And of course, this being a Die Hard movie all hell breaks loose. Jack is getting ready to testify against a former billionaire named Komarov (Koch) who is on trial on some unspecified corruption charge, but the new minister of defense Chagarin (Kolesnikov) – who was once Komarov’s friend and business partner – is anxious for his old friend to remain silent.

So when an attempt is made to break Komarov out of jail, Jack goes along for the ride only he’s not just a passenger, he’s driving the car – Jack it turns out is a CIA operative and they’re very eager to get their hands on a file containing some damming information about our old friend Chagarin. Unfortunately, Jack shows up in the midst of all the chaos and in trying to help throws Jack’s carefully made arrangements out the door.

Naturally Jack is none too pleased to see his father but now he needs to get Komarov, the file and Komarov’s beautiful daughter (Snigir) out of the country but with Jack’s partners dead, it looks like it will be Russia vs. the McClane’s and as red-blooded Americans we know how all of this is going to turn out – yup, into a showdown at Chernobyl. Literally.

In all honesty, this is a movie that’s like the previous films in the franchise more than it is a Die Hard movie. Yeah, all the elements are there but it just doesn’t have the energy and inspiration the first four movies in the franchise had.

Willis continues to be the Energizer Bunny of action heroes. Throw him through plate glass windows, shoot him, toss him from great heights and he’ll just dust himself off, wipe the blood from a couple of cuts on his bald pate and he’ll just head on to the next action sequence. There were times during the movie that he got out of a situation that should have killed him and I thought “Oh come on!” I would much rather McClane use his cleverness or street smarts to get him out of a situation where he could be killed rather than have him emerge unscathed from a situation in which he should be killed. That takes us out of the movie and descends into self-parody.

Willis has good chemistry with Courtney. While the father-son bonding sequences are a bit weak (although one where Willis asks him if he wants a hug and he responds “We’re not exactly a family of huggers” is pretty good), the two play off of each other nicely. The discord between father and son is palpable but not really explained very well other than “he worked long hours, was never around blah blah blah” which sounds more like the whining of a spoiled brat than of an adult who is so busy working he has no relationships whatsoever. Hmm.

Most of the cast isn’t terribly well-known other than by savvy film buffs but they get the job done. In fact if you’re looking for mindless entertainment, you could do a lot worse than this. It’s just that it doesn’t measure up to any of the first four movies in the franchise so you might think harder about renting one of them instead of spending the bucks to see this in theaters – unless you’re a Die Hard diehard of course.

REASONS TO GO: This is Bruce Willis’ signature role and he’s always worth seeing in it.

REASONS TO STAY: Weakest film in the series to date.

FAMILY VALUES:  As with most Die Hard movies there’s a ton of violence and plenty of foul language.

TRIVIAL PURSUIT: During the road trip every car after the original rental had a crushed can of Red Bull on the dashboard.

CRITICAL MASS: As of 2/25/13: Rotten Tomatoes: 16% positive reviews. Metacritic: 28/100; the reviews are pretty damn bad.

COMPARISON SHOPPING: Octopussy

FINAL RATING: 6/10

NEXT: Picture Me