Snowflake (Schneeflöckchen)


Even angels can’t get the blood stains out of their white robes.

(2017) Comedy Thriller (Artsploitation) Reza Brojerdi, Erkan Acar, Xenia Assenza, David Masterson, Gideon Burkhard, Alexander Schubert, David Gant, Adrian Topol, Antonio Wannek, Sven Martinek, Anjela Hobrig, Mathis Landwehr, Martin Goeres, Selam Tadese, Eskindir Tesfay, Alexander Wolf, Bruno Eyron, Stephen M. Gilbert, Judith Hoersch, Katja Wagner. Directed by Adolfo Kormerer

 

Vengeance is mine, sayeth the Lord according to the Bible. In the movies, vengeance belongs to any Tom, Dick, Harry or Jane willing to go far enough to achieve it. There is a reason, however, why God reserves vengeance for Himself.

This madly Meta German film begins with two Turkish men eating dolme kebabs in a Berlin shop. One likes the dolme, the other doesn’t. As they leave, we realize that a massacre has occurred in the shop. The two men – Tan (Acar) and Javid (Brojerdi) – calmly steal a car and discover in the back seat a screenplay. Curiously, the screenplay seems to predict everything the two say and do. Unnerved, they set out to find the man who wrote it.

The man turns out to be a somewhat rumpled dentist (Schubert) who has no idea what is going on. The two have other issues in that a mysterious woman named Eliana (Assenza) wants to see them dead for murdering her parents. She and her bodyguard Carson (Masterson) set out to meet Carson’s dad (Gant) who believes he is God and just might be. Talk about having Daddy issues! Anyway, the Almighty puts them in touch with a rogue’s gallery of assassins, including cannibals Bolek (Topol) and Dariusz (Wannek) who wear animal masks with Dariusz communicating only by squealing like the pig mask he wears. There’s also maniacal assassin Victor (Martinek) and a pair named Fumo (Tesfay) who is blind and Rashid (Tadese) who is not. The two targets have the benefit of beautiful guardian angel Snowflake (Hoersch) but also the wild card of superhero Hyper Electro Man (Landwehr) and would-be dictator Winter (Burkhard).

If that sounds like a handful, it is. This is a genre-bending, boundary-pushing mash-up that is as unique and totally original a movie you’ll see this year and maybe this decade. The movie boasts an extremely complicated but beautifully connected plot that on paper seems to be utterly senseless but once the final credits start rolling make absolute sense. This is the kind of movie that Quentin Tarantino would love.

The performances are solid throughout. Most of the actors are better known in Europe if they’re known anywhere, but despite the film’s microscopic budget they managed to cast some extremely talented actors – and got them to work for nothing.

The film is set in a post-economic collapse Berlin which is overrun by crime but people nonetheless go along with living their lives as normally as possible knowing that a trip to the grocery store – or to a dolme shop – could be fatal. That sounds a lot like the present day United States to me.

The humor here is biting and sometimes jarring and even whimsical and the action is well-staged. Most of the characters in the movie are pretty reprehensible in one way or another; seeking vengeance has a way of corrupting the soul and nearly everyone in the film is after revenge for one reason or another.

This was a most unexpected and welcome surprise; I hadn’t heard much about the film and even the distributor gave it merely a gentle push. I suppose this isn’t for everyone – some might find it a bit scattershot – but it certainly resonated with me. This is easily one of the best films of the year and one I would recommend to any film lover anywhere.

REASONS TO GO: A unique and original movie. The performances are solid all around. The story is engaging and the humor black as coal. It’s a little bit Tarantino, a little bit Monty Python.
REASONS TO STAY: The film’s a bit on the long side.
FAMILY VALUES: There is plenty of profanity along with violence and gore, as well as some sexual content.
TRIVIAL PURSUIT: The chainsaw that Javid carries around in the movie is actually an electric one; the power cord was taped to the side so that it gave the illusion that it was gas-powered.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Vudu
CRITICAL MASS: As of 12/10/18: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Free Fire
FINAL RATING: 9.5/10
NEXT:
The Favourite

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Red Sparrow


Misogyny? Wellllll….

(2018) Espionage Thriller (20th Century Fox) Jennifer Lawrence, Joel Edgerton, Matthias Schoenaerts, Charlotte Rampling, Mary-Louise Parker, Ciarán Hinds, Jeremy Irons, Joely Richardson, Bill Camp, Thekla Reuten, Douglas Hodge, Sakina Jaffrey, Sergei Polunin, Sasha Frolova, Sebastian  Hulk, Ingeborga Dapkunaite, Nicole O’Neill, Kristof Konrad, Hugh Quarshie, Kinscö Pethö. Directed by Francis Lawrence

While this is set in recent years, Red Sparrow could very easily be mistaken for a Cold War-era spy thriller by John Le Carré or those of his ilk. At the center is Jennifer Lawrence as Dominika, a former Russian ballerina who has had to move on to other career choices when her ballet career is cut brutally short. She is sent by a well-meaning but corrupt relative slash government official to a school for spies, which she disdainfully calls “whore school.” There she’s taught to use her sexuality as a weapon and the rest of her body as well. Her assignment is to make contact with American agent Nate Nash (Edgerton) but whether or not she is following orders remains to be seen.

This doesn’t particularly add anything to the espionage thriller genre but it doesn’t disgrace itself either. There are plenty of twists and turns in the plot, enough so that the studio sent an e-mail pleading with critics to reveal as little about the plot as possible which in this case is justified – the less you know about what actually happens, the better your enjoyment will be of the film.

The surprising thing about the movie is star Jennifer Lawrence. She has been for several years now one of the most reliable and talented actresses in Hollywood, but this one she falls quite a bit short. Her Russian accent is unbelievable and it slips throughout the movie. Lawrence is a lot of things but she is not a ballet dancer; she doesn’t move like one and any woman who has been through the kind of training that lands you a spot on the Bolshoi is going to have a certain elegance and grace in her every movement.

This is pretty much standard spy stuff, although granted with a surfeit of graphic mayhem, torture and yes, rape. I think some women, particularly those who are sensitive to how women are portrayed as sex objects, are going to have some serious problems with this. It’s not quite misogynistic but it’s close. This is one well worth skipping which is a first in J-Law’s otherwise glittering career. I guess she’s just due for a misstep.

REASONS TO GO: Fans of Cold War-era espionage thrillers will love this. Rampling and Irons deliver swell performances.
REASONS TO STAY: There’s too much rape and torture – there’s too much of everything (it’s too long). J-Law’s Russian accent keeps slipping.
FAMILY VALUES: There is severe violence, torture, rape, sexual content, profanity and some nudity.
TRIVIAL PURSUIT: Deer Tick was originally formed in Providence, Rhode Island. They are currently based in New York.
BEYOND THE THEATERS: Amazon, Fandango Now, Fios, Frontier, Google Play, iTunes, Microsoft, Movies Anywhere, Vudu, YouTube
CRITICAL MASS: As of 6/23/18: Rotten Tomatoes: 47% positive reviews: Metacritic: 53/100.
COMPARISON SHOPPING: Atomic Blonde
FINAL RATING: 5/10
NEXT:
Tomb Raider

In the Fade (Aus dem Nichts)


You just can’t keep Diane Kruger down.

(2017) Drama (Magnolia) Diane Kruger, Denis Moschitto, Numan Acar, Samia Muriel Chancrin, Johannes Krisch, Ulrich Tukur, Ulrich Brandhoff, Hanna Hilsdorf, Yannis Economides, Rafael Santana, Karin Neuhauser, Uwe Rohde, Siir Eloglu, Asim Demirel, Aysel Iscan, Christa Krings, Hartmut Loth, Adam Bousdoukos, Henning Peker, Laurens Walter, Jessica McIntyre. Directed by Fatih Akin

 

Our lives can be turned upside down in an instant. One moment we are surrounded by a happy, content family. The next – everything is gone. Dealing with that kind of pain is almost inconceivable to most of us but it happens far more regularly than it should.

Katja (Kruger) has that kind of life. She married Nuri Sekerci (Acar) while he was in a German jail for dealing drugs. He has since turned his life around, having become a respected member of the Kurdish community in Hamburg as a tax preparer and translator. Katja and Nuri have an adorable young son Rocco (Santana). While both Katja and Nuri are still a bit rough around the edges, there’s no denying that they are devoted parents.

One rainy afternoon Katja drops off Rocco at Nuri’s office so that she can visit her very pregnant friend Birgit (Chancrin) and share a spa day together. Returning home after relaxing, she is horrified to discover flashing police lights and crowds gathered at the street where she had earlier that afternoon left her family. All that’s left of the office is a charred and obliterated shell. A nail bomb was detonated there and her family was in a microsecond reduced to filleted meat.

At first she is in shock. It can’t be happening and her eyes show her agony. Her mom and her mother’s boyfriend, Birgit and Nuri’s parents have gathered to lend their support and express their own grief. The police seem intent on investigating Nuri’s past indiscretions; Katja believes that neo-Nazis are behind the bombing. Her lawyer Danilo (Moschitto) tends to believe her and in a not-very-smart moment gives her some illegal narcotics to help her cope…and sleep.

Eventually things get sorted and the culprits are caught. Now it’s time for the trial, but the German legal system is much different than our own. For one thing, everybody’s got a lawyer – including the co-plaintiffs, which are normally the families of the victims. Will justice be done? Or will Katja have to seek it out herself?

Kruger, one of the most beautiful actresses in the world, has been a Hollywood fixture for years. Incredibly, this is her first German-language film and she capably demonstrates that she could well be one of the finest actresses in the world as well as being an attractive one. This is the kind of performance that should have been rewarded with a Best Actress nomination but inexplicably wasn’t. It was at least as strong a performance of any of the ladies who did get the nomination. Kruger poignantly shows the numbness of grief, the rage, the despair. Much of it is communicated through her eyes.

Katja isn’t a perfect wife, mother or woman. She makes mistakes and she’s a bit on the raw side. With her many tattoos, her own drug use and an explosive temper, she is flawed enough to bring our sympathy to the fore. She’s never so unbelievably pure that we can’t believe her. Rather, we don’t disbelieve her for a moment. Kruger is raw, authentic and powerful here.

The movie is like a raw nerve being scraped through the first two acts but in the third one it falters. I can’t describe why without really going into details that are best left unrevealed until you experience it; suffice to say that it shifts tone into something  that really the film shouldn’t have become. More than that I will not say.

Fortunately, Kruger’s searing performance outweighs the movie’s faults. This is definitely a bit rough to watch in places – anyone who has lost a friend or family member in an untimely violent way will likely be triggered – but it is honest in not only exploring cultural differences but also in finding the balance between the need to inflict pain and the need to expiate it. This is certainly one worth looking out for.

REASONS TO GO: Kruger delivers the best performance of her career. This is an emotionally wrenching film from beginning to end.
REASONS TO STAY: The movie goes off the rails a little bit during the third act.
FAMILY VALUES: There is quite a bit of profanity, violence and some drug use.
TRIVIAL PURSUIT: The home video segments were all shot on smartphones.
CRITICAL MASS: As of 3/19/18: Rotten Tomatoes: 73% positive reviews. Metacritic: 64/100.
COMPARISON SHOPPING: Killing Jesus
FINAL RATING: 7.5/10
NEXT:
Hunting Season

The Gangster’s Daughter (Shaowu the Bad)


There’s nothing like a quiet dad-daughter meal.

(2017) Drama (Wild Dog Productions) Jack Kao, Ally Chiu, Ko Yu Luen, Stephanie Lin, Wu Min, Huang Jih Ping, Kao Meng Chieh, Ma Ru Feng. Directed by Mei-Juin Chen

We all lament lost opportunities. When those rare occasions come along that give us second chances, the smart thing to do is to grab them with both hands. The thing about second chances though is that they aren’t always easy.

Keigo (Kao) is a gangster in Taipei. It’s a life that garners him success and respect but costs him his marriage; eventually his wife and daughter Shaowu move to remote Kinmen Island, a county I Taiwan that is geographically closer to mainland China than it is to Taipei. The two women move in with Keigo’s former mother-in-law who has nothing but contempt for her ex son-in-law.

Years later Shaowu is a hard-to-handle teen. Her mother has passed away unexpectedly, leaving her with her grandmother as sole adult guardian. She has a brief meeting with her dad at her mom’s funeral but returns to school where bullies pull a mean prank on her best friend. Shaowu reacts by dumping a pail of manure on the head of her tormentor. Unfortunately, the boy is politically connected and grandma is forced to reluctantly call in Keigo to handle the situation. Realizing she can’t handle her granddaughter who has been expelled from school, she entreats Keigo to take her to Taipei.

Keigo mainly runs a karaoke club where his girlfriend Coco is hostess. At first, Shaowu has a hard time adjusting but soon she makes friends at her school and Keigo’s crew takes a liking to her, particularly Coco who acts like a surrogate mom. He begins to allow himself to dream that he can have a normal life with Shaowu, opening up a restaurant with her someday.However the idyllic family in the making is disturbed by two events; the return of Keigo’s boss from an extended trip to Thailand with plans on extending his interests into narcotics, and a feud between some of Keigo’s younger gang and a corrupt cop. When a shoot-out leaves two of his closest friends dead, Keigo knows he has to act, even if it will leave Shaowu an orphan. Shaowu for her part has strongly identified with her dad and yearns to take up his criminal career, something her dad definitely does not want for her. Something has to give.

This Taiwanese film was a big hit at the box office in Taiwan but has struggled to find an audience outside of where it was made, a troubling trend in Asian movies as of late. The movie recalls some of the great gangster movies of Hong Kong of the 90s with a certain reverence for the criminal lifestyle which many in Asia equate with true freedom. We rarely see Keigo doing anything criminal other than getting into an occasional bar fight and he takes a definite stand on selling drugs which most true gangsters wouldn’t hesitate to do.

Kao, who has been called “the Asian Al Pacino” has an engaging smile and a brooding demeanor. He’s not above losing his temper with his men or his daughter for that matter. He’s made a lot of mistakes in his life and he wears every one of them on his face. Most of all, he doesn’t want his daughter to follow in his footsteps and dissuades her at every opportunity. There is a soft side to him that comes out unexpectedly at times but when he need to be hard, he’s like iron.

Chiu and Kao have a very realistic relationship and the two have a chemistry that would be enviable in almost any film. The heart of the movie is the bond between the two and the veteran Kao and the ingénue Chiu bring it to life. Chiu is an expressive actress with a face that shows an array of emotions even when she isn’t doing much physically. She has a truly bright future as an actress and I hope more of her films make it to the States.

This isn’t what I’d call action-packed even though the title contains the word “gangster” but it isn’t typical of that genre. There are a few scenes that are violent but by and large the criminals are just chatting amongst themselves or chilling in the karaoke bar. There is the shoot-out we spoke about and a reckoning late in the movie but mostly, this is about a slice of life more than it is about a slice of death.

The acting can be a bit stiff for American tastes particularly early on in the film and the movie might be a little longer than American audiences can tolerate in a movie that is paced this slowly but it is certainly worth the patience to check out. The characters are richly drawn and there is a sweetness at the core of the film that I liked very much. This is certainly a film to hunt down and check out.

The New York Asian Film Festival is a wonderful event that exposes the cinema of Asia to an appreciative audience; I only wish that more non-Big Apple residents could experience some of these films, few of which will make it to neighborhood art houses let alone VOD. Hopefully a few of them will get some wider exposure somewhere down the line; otherwise interested viewers will have to do some digging to find an online service that specializes in streaming Asian films like Fandor and AsianCrush that might carry some of these fine films down the line.

REASONS TO GO: Kao and Chiu have a remarkable chemistry. Chiu is certainly a star in the making
REASONS TO STAY: The acting is a bit stiff in places. The film is drawn out a bit too much.
FAMILY VALUES: There is plenty of profanity and some violence.
TRIVIAL PURSUIT: Mei-Juin Chen is best known for her documentaries; this is her first stab at a narrative feature.
CRITICAL MASS: As of 7/1/17: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Mr. Six
FINAL RATING: 6.5/10
NEXT: Look & See:A Portrait of Wendell Berry

Stagecoach: The Story of Texas Jack


"Yeah, I voted for Trump. What of it?"

“Yeah, I voted for Trump. What of it?”

(2016) Western (Cinedigm) Trace Adkins, Judd Nelson, Kim Coates, Michelle Harrison, Helena Marie, Claude Duhamel, John Emmet Tracy, Garry Chalk, Ethan Harrison, Adam Lolacher, Philip Granger, Artine Brown. Directed by Terry Miles

 

When you do bad things, those deeds tend to cling to you like leeches. You may try to rid yourself of your past but it has a habit of catching up to you, and almost never in the way you would expect.

Nathaniel Reed (Adkins) has made a living robbing stagecoaches. However, he yearns for a life on the straight and narrow with his new wife Laura Lee (Harrison) and gives up his outlaw ways. It is not easy; his small farm is about to be foreclosed on by a sympathetic bank manager (Tracy). Still, Reed is determined to make it work.

That all changes when Frank Bell (Duhamel) who used to ride in his old gang shows up. Hot on his trail is U.S. Marshal Calhoun (Coates), whose eye had been shot out by Reed during a stagecoach robbery back in the bad old days. Bullets fly, and Reed is forced to flee his home. Anguished after Bell tells him he saw Laura Lee shot dead, Reed decides to go back to his old outlaw ways. Not wanting Laura Lee’s memory to be tainted, he adopts a new nickname – Texas Jack, after the state they are pulling their jobs in and after Apple Jack whiskey, their adult beverage of choice.

It takes awhile but Calhoun and his sadistic partner Bonnie Mudd (Marie) figure out who Texas Jack is but once they do the chase is on. Calhoun is relentless in his pursuit of vengeance, not caring if he is following the letter of the law or not. There is going to be a reckoning of Biblical proportions and not everybody who rides with Texas Jack can be considered trustworthy – who’d have thought an outlaw wouldn’t be loyal?!?

This Canadian film feels almost like a direct-to-cable affair. Production values are minimal and while this looks in no way, shape or form like Texas the scenery is nonetheless pretty. Unfortunately, the film lacks that epic feel that make good westerns memorable and the energy is somewhat diminished as well.

Adkins with his gravelly baritone and long hair looks the part of a Western hero, but he is more of an anti-hero here, more like Waylon Jennings than John Wayne. Of course, that’s not necessarily a bad thing. He looks a little worn and tired here, which might be a by-product of the character’s stress but still with the right material he could have a lucrative side career in the cinematic saddle.

The acting in general is pretty solid; Coates has played bad guys before and he does so with gusto here. Nelson as another of Nathaniel’s old gang seems to be having the most fun; the film could have used more Sid for the energy component. Marie, who is best known from the Supernatural series, turns Western conventions on their ear as a sadistic, brutal gunslinger who is as trigger-happy as any man.

It’s a nice idea, combining the anti-hero elements of spaghetti westerns with traditional western values of John Ford (whose classic Stagecoach is name-checked here, a rather bold move) and even the “deserve has nothing to do with it” speech from Clint Eastwood’s Oscar-winning Unforgiven is referenced, again a rather bold move. Note to filmmakers – if you’re going to reference classic movies in your film, you’d better make damn sure it measures up.

Not that this isn’t without its own charm but it really is more of a time-killer than something to seek out. Some of Adkins country music fans might be moved to give this a try as eager genre fans whose appetite for Westerns is all-too-rarely given even a marginal meal. There is  some meat on its bones here but not a ton and it is likely that Western fans will be left hungry after watching this.

REASONS TO GO: Elements of spaghetti westerns and traditional westerns are combined. Adkins makes for a natural Western hero. Coates is especially gleeful as the villain.
REASONS TO STAY: The energy and epic quality of a good western is missing here. Really a bit by-the-numbers as Westerns go. Quotes elements of much better films which is never a good idea.
FAMILY VALUES:  Plenty of violence here and some occasional profanity.
TRIVIAL PURSUIT:  Nathaniel Reed is based on an actual person who robbed stagecoaches in the late 19th century and lived until 1950, publishing an autobiography in 1936.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Vudu, YouTube
CRITICAL MASS: As of 11/30/16: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Lawless
FINAL RATING: 5/10
NEXT: Hacksaw Ridge

Nocturnal Animals


It isn't always ghosts that haunt us.

It isn’t always ghosts that haunt us.

(2016) Thriller (Focus) Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron Taylor-Johnson, Isla Fisher, Ellie Bamber, Armie Hammer, Karl Glusman, Robert Aramayo, Laura Linney, Andrea Riseborough, Michael Sheen, India Menuez, Imogen Waterhouse, Franco Vega, Zawe Ashton, Evie Pree, Beth Ditto, Graham Beckel, Neil Jackson, Jena Malone. Directed by Tom Ford

 

Regret follows us through life like the shadow of a hawk paces a wounded groundhog. The road not taken sometimes is the road we should have taken – but once we make that turn, that off-ramp is gone for good.

Susan Morrow (Adams) is the curator of an art gallery who has just opened a new installation, involving overweight, middle-aged naked women dancing suggestively in pom-pom and drum majorette outfits. It has brought out all of the shallow, self-involved, condescending L.A. art whores. In other words, it’s a great big success.

Not so successful is her current marriage to Hutton Morrow (Hammer), a venture capitalist whose venture has overwhelmed his capital. The failing business has put an intense strain on the marriage, for which hubby compensates for by fooling around. Men!

Out of the blue, Susan gets a manuscript from her first husband Edward Sheffield (Gyllenhaal) whom she had surmised was teaching college and had given up on the writing career that had attracted her to him in the first place. Their break-up was about as brutal as the end of a relationship can get. Now he has written a novel and dedicated to her, claiming in a note that she inspired him to write this – even though their marriage ended nearly twenty years earlier and they hadn’t spoken since.

As she reads the manuscript, she is oddly affected by it. It is a brutal story of a somewhat mousy man named Tony Hastings (Gyllenhaal) driving down a dark deserted Texas road with his wife Laura (Fisher) and daughter India (Bamber) when a quartet of Texas rednecks run them off the road. They finagle the wife and daughter into his car after repairing the flat tire on it and drive off with her; Lou (Glusman) drives Tony off into the desert and leaves him there. Later on Lou returns with the gang’s leader Ray Marcus (Taylor-Johnson) who try to entice Tony back but he hides in terror. They drive away.

Tony makes it back to civilization and calls the cops. The laconic Texas Ranger-type detective Bobby Andes (Shannon) takes over the case. Eventually they find the nude corpses of his wife and daughter, dumped near where they had dropped off Tony. Andes promises that they will get the guys who did this.

As the years go on, the dogged Andes eventually figures out who done it but Andes has a bit of a time sensitivity going on – he is dying of cancer. It is unlikely that based on the fairly flimsy evidence that they have that Ray Marcus and his gang will ever be brought to justice. That leaves revenge, but does the weak Tony have the stomach for it?

There are three distinct stories here – the novel, which takes up most of the movie and is a kind of Texas noir; Susan’s current story in which her life is filled with disappointment, regret and sadness, and the back story of Edward and Susan – how they met and how they broke up. All three tales are put together into a cohesive whole and show that Ford, who is better known as a fashion icon, is also a marvelous storyteller.

This is not an easy role for Amy Adams, who is so lacquered up with make-up that she almost looks like art herself. It isn’t one of the most emotionally forthcoming performances of her career, which makes it all the more impressive; she does an awful lot with an awful little here. Gyllenhaal continues to make a case for himself as being one of the most distinguished actors of our time. There is a great deal of nuance in his performance; his character is perceived as weak but he isn’t in the traditional sense. There is a strength that comes through particularly later in the film.

There are also some stellar supporting performances. Shannon as the crusty detective is all tumbleweeds and BBQ brisket as the Southwestern law man, while Laura Linney is virtually unrecognizable as Susan’s patrician snob of a mom. Both of them dominate the screen when they are on, Linney unfortunately for merely a single scene.

The ending is deliberately vague and will leave you with a WTF expression on your face. My wife and I had decidedly different reactions; she loved it and thought it perfectly suited the movie. I felt that it was inconsistent with how the character behaved and felt petty and vindictive. I also had problems with the opening credits that played lovingly on the nude women; it felt exploitative to me.

Ford, who made his Oscar-winning debut with A Single Man may need to dust off his tux again come February but this is less of a slam dunk than his first film. I think that there is a possibility that there will be some Oscar consideration here, but there is some heavy competition coming its way despite this having been a fairly down year for Oscar-quality films. How the Academy reacts remains to be seen, but this is definitely a must-see for those who want to make sure they get an opportunity to see every film that is likely to get a nomination.

REASONS TO GO: Ford deftly weaves three different stories together. The film boasts fine performances from top to bottom.
REASONS TO STAY: The opening scene and ending are absolute deal-killers.
FAMILY VALUES: There is violence, graphic nudity, a pair of offscreen rape-murders, menace and salty language.
TRIVIAL PURSUIT: Focus paid $20 million for the distribution rights for the film at Cannes, the highest ever paid for any film at any festival to date.
CRITICAL MASS: As of 11/29/16: Rotten Tomatoes: 82% positive reviews. Metacritic: 67/100.
COMPARISON SHOPPING: The Words
FINAL RATING: 7.5/10
NEXT: Stagecoach: The Story of Texas Jack

The Jungle Book (2016)


Audiences are going ape for The Jungle Book.

Audiences are going ape for The Jungle Book.

(2016) Family (Disney) Neel Sethi, Bill Murray (voice), Ben Kingsley (voice), Idris Elba (voice), Lupita Nyong’o (voice), Scarlett Johansson (voice), Giancarlo Esposito (voice), Christopher Walken (voice), Garry Shandling (voice), Brighton Rose (voice), Emjay Anthony (voice), Jon Favreau (voice), Russell Peters (voice), Sam Raimi (voice), Ritesh Rajan, Sara Arrington (voice). Directed by Jon Favreau

 

Rudyard Kipling’s The Jungle Book is rightly considered a children’s classic. The Disney animated version, while not near the top of their list, is at least considered one of the better animated films of its era, complete with a passel of Sherman brothers tunes that continue to be quoted by Disney in their theme parks and commercials.

A live action version continues Disney’s string of live action features based on their animated films and in many ways this is the most challenging project yet. Director Favreau, who is best known for the first two Iron Man films, was an inspired choice to direct this, having done family films as well as big special effects extravaganzas as well.

Mowgli (Sethi) is a young human child raised by wolves after the death of his father (Rajan). Alpha male Akela (Esposito) and his noble wife Raksha (Nyong’o) take on the responsibility of raising the boy as a wolf. Try as he might to fit in, Mowgli has just two legs and no claws to speak of. However he is a cheerful boy and an inventive thinker. Panther Bagheera (Kingsley) is also nearby, making sure that Mowgli is raised right.

Also nearby, unfortunately, is Shere Khan (Elba), a disfigured tiger whose burns had been received at the hands of Mowgli’s dad before the big cat sent him on his way to meet his maker. When Shere Khan finds out that Mowgli is about, he blows a gasket. No human will live safely in his forest while he lives, and Shere Khan sets out to eliminate Mowgli from the board.

Akela and Bagheera agree that Mowgli must leave the pack, despite the laws of the pack that seem to indicate that the pack is stronger together rather than splitting up. Bagheera tries to escort Mowgli to the safety of the human village but Shere Khan finds out and Mowgli and Bagheera are separated. Mowgli is found by Baloo ((Murray), a happy-go-lucky bear who finds a stroke of good luck when Mowgli, ever-inventive, figures out a way for Baloo to get the honeycombs that are high on the top of a mountain that Baloo is unable to reach. Even in this idyllic interlude, the jungle isn’t safe; not only is the tiger after Mowgli but so is King Louie (Walken), the clever but crazed leader of the apes who has an eye on the secret of fire which only Mowgli can unravel as well as Kaa (Johansson), a seductive serpent whose only concern is making Mowgli her lunch.

Sethi is the only onscreen actor who gets any significant time; all the other animal characters and indeed the jungle setting itself is all digitally created. It’s an impressive technical achievement, achieving a photorealistic jungle as well as the animals within it. The computer animators achieve actual personalities in the anthropomorphic subjects, with Baloo’s happy-go-lucky bear augmented by Murray’s acerbic wit; Bagheera’s sleek black form is bolstered with his expressions of annoyance and occasional contentment. It is somewhat ironic that only Mowgli himself is poorly drawn as a character.

It’s not that Sethi is a bad actor – far from it. He shows some real athleticism in his role, but the dialogue for him is a little one-note and Sethi doesn’t vary much in his line reading. Like some child actors, he comes off as a little too sure of himself and perhaps Mowgli’s wolf upbringing might explain this, but Mowgli comes off as almost arrogant to the point of Trumpness.

The voice actors all do wonderful work, particularly Murray and Kingsley, but Johansson, Nyong’o and Walken also distinguish themselves. Favreau is inventive in the way he uses tracking shots and flashbacks, and the movie is never visually boring.

The animated edition is where most of the cues for this movie arise, but there are also other elements from other movies, some surprising. There are nods to Apocalypse Now, for example, when King Louie reveals himself. The appearance of three songs from the original movie is all welcome and you haven’t lived until you’ve heard Christopher Walken warbling “Wanna Be Like You.”

This is some of the best family entertainment you’re going to find in a year that’s shaping up to offer some truly interesting family films that this critic is eager to check out. That’s good news as there has been a bit of a dry spell when it’s come to high quality family entertainment. This one is going to make it into the video library for a lot of kids who will be demanding it from parents who won’t mind giving in. Definitely one of the best family films in years.

REASONS TO GO: Amazing animal effects look completely real. A classic honored with a terrific rendition. Nice little shout-outs to the animated version.
REASONS TO STAY: While Sethi is less annoying then he might have been, he was occasionally a bit overly smug for my taste.
FAMILY VALUES: There is some violence here as well as a child in peril.
TRIVIAL PURSUIT: This is the first Disney version of The Jungle Book in which Bagheera and Shere Khan fight.
CRITICAL MASS: As of 6/1/16: Rotten Tomatoes: 95% positive reviews. Metacritic: 77/100.
COMPARISON SHOPPING: Tarzan
FINAL RATING: 8.5/10
NEXT: Honeyglue