Paterson


Paterson and Laura see things in black and white.

Paterson and Laura see things in black and white.

(2016) Drama (Bleecker Street/Amazon) Adam Driver, Golshifteh Farahani, Nellie, Rizwan Manji, Barry Shabaka Henley, Trevor Parham, Troy T. Parham, Brian McCarthy, Frank Harts, Luis Da Silva Jr., Chasten Harmon, William Jackson Harper, Cliff “Method Man” Smith, Kacey Cockett, Kara Hayward, Jared Gilman, Sterling Jerins, Masatoshi Nagase, Sophia Muller. Directed by Jim Jarmusch

 

Paterson is a bus driver. Paterson is also coincidentally the name of the New Jersey town in which Paterson plies his trade. It is not coincidentally the home of famed 20th century poets William Carlos Williams and Allen Ginsberg. Paterson (the bus driver) also writes poetry in a journal he keeps with him. He scribbles during lunch breaks and before he starts work. He uses mundane, everyday subjects to inspire him. He leads a mundane, everyday life.

Director Jarmusch is notorious (or acclaimed) for finding the rhythms of life and setting his films to those rhythms. We see Paterson’s routine; getting up in the morning at 6:15 precisely, eating breakfast with his wife Laura (Farahani), going to work, coming home for dinner – Laura is apparently not much of a cook but he gamely is polite about pretending to enjoy it. Afterwards he takes his English bulldog Marvin out for a walk, ending up at his favorite watering hole talking with Doc (Henley) the bartender and then heading home to go to sleep with his wife.

We follow Paterson in his routine over the course of a week. It’s not a particularly important week – just a normal, mundane, everyday week. His wife is making cupcakes for a popup farmer’s market. She has ordered a guitar which she paints black and white like everything else in the house and dreams of becoming a country music star, which would be a bit of a stretch being that she is an immigrant from Iran which in the current climate might not fly among a certain element that loves country. He overhears conversations on the bus, adjusts his mailbox which always seems to be leaning (late in the film we find out why), and sometimes just sits out by the beautiful waterfall that is Paterson’s pride and joy.

Paterson is definitely a working class environment. Some might remember that it was the town in which Ruben “Hurricane” Carter was framed for murder; it is referenced during the film but not dwelled upon, at least not as much as the fact that it was also the home of Lou Costello of Abbott and Costello fame. Then again, Laura’s penchant for black and white patterns might allude to the racial divide that led to one of the most notorious legal cases of the 20th century that was part of the DNA of Paterson at the time.

There is a beauty to the rhythms of life here. Jarmusch is an expert to finding the beauty in the mundane. But, as mundane as Jarmusch wants to make the environment of Paterson, he can’t help but populate it with quirky indie film characters that lend an air of “this isn’t real life in the rest of the world” to the film. I think in some ways it sabotages what he’s trying to do and for me it diminished the enjoyment of the film. Why can’t films about ordinary people actually have a few ordinary people in them?

Driver is a bit white bread here. He doesn’t really distinguish himself much which is likely what Jarmusch had in mind. Paterson (the bus driver) is basically a pretty nice guy without much ambition; his poetry is amazing (written by real life poet and Pulitzer prize winner Ron Padgett) but he refuses to publish them. He clings to them like a lap bar on a particularly scary roller coaster and when near the end of the film an event occurs that puts that to paid, it feels like it should be more liberating than it is. Or at least more traumatic than it seems.

I’m not really quite sure what to make of Paterson (the movie). On the one hand it achieves the “all about nothing” that the Seinfeld show aspired to. On the other, it definitely succumbs to indie film clichés. On a third hand, it plays as a cinematic tone poem, analogous to the works of Williams and T.S. Eliot. There’s beauty here but Jarmusch makes it oddly humorless, although there are occasional twitches of the lips that approximate smiles. It’s an elegant movie that’s not completely successful but is completely worth your while.

REASONS TO GO: This is very much a cinematic tone poem.
REASONS TO STAY: Too many quirky characters inhabit Paterson’s world.
FAMILY VALUES: There is a fair amount of profanity.
TRIVIAL PURSUIT: Driver undertook training to drive the bus for three months in Queens; he passed is licensing test a week before shooting started and was able to drive the bus himself, allowing Jarmusch to get a broader amount of options in shooting the film.
CRITICAL MASS: As of 2/21/17: Rotten Tomatoes: 96% positive reviews. Metacritic: 90/100.
COMPARISON SHOPPING: Mike and Molly
FINAL RATING: 7.5/10
NEXT: Country: Portraits of an American Sound

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The Conjuring 2 (The Enfield Poltergeist)


There's nothing worse than getting caught by a nun.

There’s nothing worse than getting caught by a nun.

(2016) Horror (New Line) Patrick Wilson, Vera Farmiga, Madison Wolfe, Frances O’Connor, Lauren Esposito, Benjamin Haigh, Patrick McAuley, Simon McBurney, Maria Doyle Kennedy, Simon Delaney, Franka Potente, Bob Adrian, Robin Atkin Downes (voice), Bonnie Aarons, Javier Botet, Steve Coulter, Abhi Sinha, Chris Royds, Sterling Jerins. Directed by James Wan

 

Horror franchises have a way of decreasing in quality the farther along you go. They also have a tendency to repeat themselves. This sequel to a movie based on the case files of Ed and Lorraine Warren, has all the makings of a good franchise. Will it fall prey to some of the sins of the sequels?

In a house in the small town of Amityville, New York, Lorraine Warren (Farmiga) and her husband Ed (Wilson) are conducting a séance to investigating the haunting of the Lutz residence. She sees a small boy while in a psychic trance and follows him into a basement. There she encounters a demonic nun and has a vision of Ed’s death.

She is understandably shaken and convinces Ed to take a break from taking on new investigations. In the meantime the Amityville Horror comes out and Ed and Lorraine become famous…or more accurately, infamous as they are accused of perpetrating a hoax. Ed is beginning to get a little bit frustrated that he can’t really defend himself (and his wife) against these charges since so much of what they’ve seen is anecdotal and go against established science.

Across the Atlantic, single mom Peggy Hodgson (O’Connor) is barely making ends meet with her four children who are being bullied in their local school in Enfield, a suburb of London. Her daughter Janet (Wolfe) soon begins hearing and seeing things, mostly revolving around a recliner left behind by the previous tenant, Bill Wilkins (Adrian). Soon, furniture is flying around on its own, witnessed by a pair of incredulous Bobbies, and parapsychologists and the clergy become involved.

The Roman Catholic Church has been contacted to see if an exorcism is in order. They want to send Ed Warren to make that determination. Lorraine is reluctant, particularly after having another vision of the evil nun in her own home, but Ed points out that this is a single mother with four children who have nowhere to turn to. Lorraine knows that her husband is right.

The goings on in the house are increasing in degree and malevolence and the family is essentially sleeping across the street at a neighbor’s home, but when an apparition known as the Crooked Man (Botet) makes an appearance over there, it becomes clear that Janet is the focal point of the hauntings, so Peggy and Janet return to their home to sleep, with the Warrens and their team also hunkering down in the haunted dwelling.

Soon Lorraine begins to realize that it isn’t just Bill Wilkins haunting this house; there’s something else behind it, something far more evil and far more ancient. She also begins to realize that the target of the haunting may not be the Hodgson family after all.

James Wan may be the pre-eminent genre director working today. He has initiated no less than three franchises now, and considering the two Conjuring films have set horror film opening weekend box office records, I wouldn’t be surprised if there was more genre work on the way for the director. Here again he sets a nice, creepy tone and uses set design to his advantage; there are always plenty of shadows for gruesome things to leap out of.

The trouble is, that he seems to be relying more and more on what are called jump scares, which are aided by loud noises and tend to be things that, ahem, leap out of the shadows. They are the cheapest of all horror movie scares and the hoariest of tropes; either way they’re well beneath Wan who in the first film came by his scares honestly.

Not so much here. I can applaud Wan for setting up a big bad that might well power through the rest of the franchise, but it seems that the producers want to create  as many spin-offs as they possibly can. There’s already one for Annabelle in the can and one on the way and the nun from this movie has reportedly received the green light for a feature of her own. I’m looking forward to finding out more about her because we don’t get a whole lot of information about the character here.

At the center of this movie is the relationship between Ed and Lorraine and the love that is there. Farmiga and Wilson are so adept at creating an affectionate environment between the two characters that it’s hard to believe they’re not married in real life. There’s a scene in which to lighten things up Ed grabs a guitar and does a credible Elvis impression (and yes, that’s actually Patrick Wilson singing) of the King’s classic “I Can’t Help Falling in Love With You.” While ostensibly to calm down the Hodgson family, it is also a message to his wife – and she receives it loud and clear.

Not quite to the level of the first film which is in my opinion a new horror classic, this is nonetheless a satisfying sequel that won’t disappoint fans of the first film – or fans of the horror genre in general. While I wish Wan would have spent a little time on earning our fright rather than going the route of the cheap jump scares, there is enough here to make your skin crawl in a good way that I can give it an enthusiastic recommendation to all.

REASONS TO GO: The relationship between Ed and Lorraine is at the center of the film.
REASONS TO STAY: An excess of jump scares.
FAMILY VALUES: Plenty of terror and horror violence, disturbing images and some strong language.
TRIVIAL PURSUIT: Director James Wan turned down what he termed a “life-altering” amount of money to direct Fast 8 in order to return to his horror roots.
CRITICAL MASS: As of 7/5/16: Rotten Tomatoes: 79% positive reviews. Metacritic: 65/100.
COMPARISON SHOPPING: Poltergeist
FINAL RATING: 7.5/10
NEXT: A Violent Prosecutor