Out of Blue


Questions in a world of blue.

(2018) Mystery (IFC) Patricia Clarkson, James Caan, Jacki Weaver, Mamie Gummer, Toby Jones, Aaron Tveit, Jonathan Majors, Gary Grubbs, Alysha Ochse, Yolonda Ross, Thomas Francis Murphy, Tenea Intriago, Lucy Faust, Brad Mann, Lawrence Turner, Carol Sutton, Brenda Currin, Deneen Tyler, Devyn A. Tyler, Elizabeth Elkins, Garrett Kruithof, Elizabeth Pan. Directed by Carol Morley

 

As this film begins, we see the quote “We are not in the universe. Rather, the universe is in us.” When you consider that the make-up of our bodies is essentially created from the same elements that stars emit, that’s not far from the literal truth.

Detective Mike Hoolihan (Clarkson), a recovering alcoholic lesbian whose one of the better practitioners of detection, is called to an observatory to a homicide. Pretty astrophysicist Jennifer Rockwell (Gummer), the daughter of a prominent New Orleans family, has been shot dead. She can’t help but notice that the modus operandi of the killer is eerily similar to a slate of unsolved murders from decades earlier known as the .38 Caliber Killings. She also can’t help but notice a vintage shoe, a discarded sock and an open jar of a face cream popular decades earlier.

She has no shortage of suspects. Jennifer’s colleague Professor Ian Strammi (Jones) is a bundle of nerves and shows signs of having been in a struggle. Jennifer’s boyfriend (and also a colleague) Duncan J. Reynolds (Majors) is also behaving a bit oddly. Then there’s her grieving father, Colonel Tom Rockwell (Caan), a Vietnam War hero, local politician and electronics company proprietor who seems a bit tightly wound. Only Jennifer’s mother Miriam (Weaver) seems remotely grief-stricken and even she is showing signs of dementia.

Hoolihan is dogged in her pursuit of the truth but the case haunts her in unexpected ways. Jennifer, a vocal proponent of the “we are stardust” school of thought, is an expert on black holes and posits that we all exist because a star died somewhere billions of years ago. Jennifer’s own sense of wonder and relentless pursuit of her own scientific truth touches Hoolihan, perhaps reminds her of herself as she navigates the twists and turns of the case.

Based on a Martin Amis novel, the film has more than a little noir element to it. There is very much a literary feel to the movie; some of the dialogue is probably a better read than it sounds spoken aloud. That’s a shame because the cast which has some pretty impressive names in it is essentially left to trying to say some of these lines with a straight face and not always succeeding, as when Weaver’s character chides Hoolihan “Have you thought about dressing like a woman, dear?” There are plenty of references to the scientific quandary Schrodinger’s cat which makes the film esoteric to the point of either pretentiousness or brilliance – I’ll leave it to you to decide which.

The soundtrack is also reasonably impressive although it leans a bit too much on Brenda Lee’s version of I’ll Be Seeing You.” Clint Mansell’s atmospheric score is also a definite plus. What isn’t a plus is the overuse of incidental imagery used as linking devices between scenes. It makes the movie feel a bit too busy, a bit too pretentious (there’s that word again).

All in all, the movie comes off as a particularly uninspiring episode of C.S.I. Despite the best efforts of Clarkson and cast, the movie feels somewhat tired and somewhat lost. While I don’t mind the concept of the film and I like Amis as an author very much, the movie doesn’t do Amis’ source novel (Night Train) much justice which is pretty much par for the course for adaptions of his work.

REASONS TO SEE: Clarkson and Weaver deliver fine performances. The soundtrack is impressive.
REASONS TO AVOID: The ending is stretched out too much. There are far too many unnecessary incidental shots; the filmmakers don’t overburden themselves with self-restraint.
FAMILY VALUES: There is a fair amount of profanity.
TRIVIAL PURSUIT: The film originally had its world premiere at the Toronto Film Festival last year.
CRITICAL MASS: As of 3/24/19: Rotten Tomatoes: 44% positive reviews: Metacritic: 49/100.
COMPARISON SHOPPING: Dark Matter
FINAL RATING: 5/10
NEXT:
Tigerland

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American Folk (September 12)


Joe Purdy and Amber Rubarth are fine musicians but they’re not above being corny.

(2017) Drama (Good Deed) Joe Purdy, Amber Rubarth, David Fine, Krisha Fairchild, Bruce Beatty, Elizabeth Dennehy, Miranda LaDawn Hill, Emma Thatcher, Holger Moncada Jr., Julian Gopal, Lawrence Mandley, Noah Craft, Bradford Barnes, Paul White, Shelly West, Maryann Strossner, Andrew Walton (voice), Greg Williams, James Perry, Ricky Aynes, Isabella George Brown. Directed by David Heinz

 

The road movie is an institution as American as, well road trips themselves. Exploring our own country is something we often fail to do in our busy lives but there is something that is truly uplifting about getting in a car and driving down the open road in whatever direction you happen to fancy, particularly when we take the back roads and avoid the Interstates which are, I grant you, soulless and Godless.

Elliott (Purdy) is a folk musician in an L.A. hotel room with maybe the thinnest walls ever – or a neighbor in the adjoining room with the worst temper ever, constantly banging on the wall whenever Elliott softly strums his guitar and sings into the cassette deck, working on a song. He has to get to New York City to begin a gig as a member of a band called the Hairpin Triggers, a gig that he’s not overjoyed about but as his agent intimates, may be his last opportunity to continue to make a living as a musician.

He’s not much of a people person so as the flight takes off he puts on his headphones and zones out. However the bright perky woman sitting next to him, Joni (Rubarth) whips out a splitter and listens in. I’ve never had that happen on a flight before but I suppose in all the annals of transcontinental air travel it must have happened o someone. Anyway, rather than punching her in the face, he strikes up an awkward conversation with her that is cut off when the flight is turned around and forced to land back at LAX. It’s not because of engine trouble or a medical emergency – all flights are being grounded. The date is September 11, 2001.

Elliott desperately has to get to New York and Joni has to return to take care of her ailing mother who is under the auspices of a none-too-reliable sister so Joni invites Elliott back to the house she was staying in with family friend Scottie (Fairchild), an ex-hippie and former touring musician herself. She lends the two a 1972 Chevy Van (and only children who grew up in the 70s will appreciate the Sammy Johns reference) and off they go.

The van has a tendency to overheat so the Interstates are a non-starter. They take back highways instead until the van gives up the ghost in the desert. They are pointed in the direction of Vietnam vet Dale (Fine) who lives out in the sand dunes by himself but can fix just about anything. The two travelers begin to bond over music and a shared love of traditional American folk – the music of Pete Seeger, Odetta, Joan Baez and John Prine among others.

Along the way they run into other people who grab their attention but particularly a lesbian couple from San Francisco named Bianca (Hill) and Emily (Thatcher) who are on their way to Virginia to meet Bianca’s parents…and to come out to her very stiff-necked father (Beatty). Getting to New York the two begin to realize that it was truly  all about the journey and not the destination – and it would be a journey they’d remember forever.

I went into this movie thinking that it would be about folk music but in many ways it really isn’t. Think of the title for a moment – it’s not about American Folk but about American folks. This is a snapshot of a moment in our history when the country was drawing together and unifying in the face of a dreadful, horrible attack. That the unity that we experienced in those days and weeks following 9-11 has been completely lost makes it doubly tragic only 16 years after the fact.

Purdy and Rubarth make strong leads; Purdy is quiet and introspective, Rubarth outgoing and open-hearted. They are an opposites attract sort of couple but then again this is no rom-com; this is definitely a road movie and while they do bond there’s never a sense that they will remain together once they pull up in New York. Some viewers may end up wishing they had.

There is some great music on the soundtrack, much of it played and sung by Rubarth and Purdy (the two are touring together in support of the movie doing folk dates throughout the country). It is well that the filmmakers actually shot on the road rather than in a single state or soundstage; we get the flavor of the couple’s travels and that adds a lot to the enjoyment of the movie overall.

While the film gets a little flat in the middle, it does keep the interest high throughout. It has a gentle heart and a dulcimer’s soul, and the harmonies that Purdy and Rubarth make while singing echo in the very DNA of the film. I can’t say that there is anything particularly revelatory here – the healing power of music is well-known and road movies are nothing new, but still I found myself enjoying the journey. I think you just might, too.

REASONS TO GO: Purdy and Rubarth are surprisingly strong leads. The music the two make is really very good and the classic folk on the soundtrack works as well.
REASONS TO STAY: There are a few indie clichés scattered here and there. The movie loses some momentum in the middle third.
FAMILY VALUES: There is some profanity as well as some sophisticated themes.
TRIVIAL PURSUIT: Both Purdy and Rubarth are veteran singer/songwriters in folk and other American music forms. This is the first onscreen acting role for the both of them. In addition, this is Heinz’ debut as a feature film director after a long and distinguished career in film editing.
CRITICAL MASS: As of 1/27/17: Rotten Tomatoes: 76% positive reviews. Metacritic: 62/100.
COMPARISON SHOPPING: Easy Rider
FINAL RATING: 6.5/10
NEXT:
Tikli and Laxmi Bomb