One More Time with Feeling


Nick Cave in his element.

Nick Cave in his element.

(2016) Musical Documentary (Picturehouse) Nick Cave, Warren Ellis, Susie Bick, Thomas Wydler, Earl Cave, Else Torp, Martyn Casey, Jim Sclavunos, George Vjestica. Directed by Andrew Dominik

 

Nick Cave is one of those artists who people either never heard of or fall in love with. His sonorous voice isn’t the kind you associate with pop music and while his songs are beautiful and haunting, they generally have a darkness to them that some find uncomfortable. It isn’t an accident that one of his best albums is entitled Murder Ballads.

Cave had begun the recording of his sixteenth album with his band the Bad Seeds when tragedy struck; his 15-year-old son Arthur accidentally fell off a cliff near his Brighton home and died of the injuries he sustained. Cave and his wife Susie Bick were devastated as you can imagine and work on the album stopped for a time.

Now the songs of the album are infused with the presence of the son who is gone. The lyrics are dark and bitter, like a coffee infused with burnt chicory. The tragedy becomes the elephant in the room and in order to keep from answering endless questions about it, Cave enlisted Dominik, whose film The Assassination of Jesse James by the Coward Robert Ford was scored by Cave and his usual partner-in-crime Warren Ellis.

Most of the film is in black and white (there are a couple of color sequences, one involving Cave’s surviving son Earl and a sequence in which Danish soprano Else Torp lends her voice to one of the songs on the album) and that seems perfect for the somber situation, and for Cave’s catalog in general. That’s not to say that this is all ashes and sackcloth however; there is some teasing that goes on, particularly from Ellis who claims that Cave’s hair “never looked better.”

The music is at the center of the film and quite frankly, I was motivated to buy Skeleton Tree almost immediately after arriving home (thank you, eMusic) and I haven’t regretted it since. The music is haunting and beautiful and sad – sad can be intensely beautiful – and will stick with you for a long while. I’m still listening to the tracks from the album in almost constant rotation.

Speaking of constant rotation, one of the annoying things about the movie is that for nearly every song Dominik has his camera circling on a dolly around the piano Cave is playing or the microphone Cave is singing into. There are some lighting effects that go with some of the songs but Dominik could have changed things up a little more from song to song. Frankly I ended up closing my eyes and just letting Cave’s voice wash over me for most of it and maybe that’s the intent. Cave’s voice is raw and real; reading the lyrics on the page are fine and they reveal his anguish and grief, but to really get the truth of his pain one must hear his voice. There are few singers who are as emotionally communicative as Cave is.

Another issue I have with the film is the interviews with Cave, particularly early on in the movie. Often Dominik (I assume it is Dominik doing the interviewing; it could be someone else) interrupts Cave and finishes his sentences. Sometimes Cave says “Yeah, right” but other times he says “No, not really…” as Dominik tries to express what Cave is feeling. A cardinal rule of interviewing on-camera is to let the subject do as much of the talking as possible; you never interrupt them nor put words in their mouth. Your function is to ask a few questions and the occasional follow-up but to keep your mouth shut as much as possible, particularly when you have someone like Cave who is intelligent and thoughtful. I would have preferred to hear more of Cave and less of Dominik.

Dominik is, however, a gifted visual director and some of the images here are amazing and poignant, particularly as the film goes on. Dominik chooses not to say anything specific about the tragedy that clearly haunts Cave so if you were initially unaware of his son’s passing you may end up getting snippets of some sort of unexpressed trauma but it isn’t until the last 20 minutes or so of the movie that Cave and his wife speak openly about the death of their son and they never tell you specifically what happened. The film’s final image – of the cliff where Arthur Cave spent his final moments – is a haunting one and will stay with you nearly as much as the music that precedes it.

This does make a fine companion piece to the album although I don’t know how much it is going to enhance the listening experience of sitting down in a nice quiet place, turning on the headphones and letting the music of the Bad Seeds and Cave’s expressive voice wash over you. If Dominick’s direction had been less intrusive this easily could have been a contender for best movie of the year. As it is it will certainly merit a certain amount of contention for my top ten list, although likely the second half. Skeleton Tree is more likely to vie for my favorite album of 2016 however, and you might feel the same after seeing this and more importantly, hearing the album.

REASONS TO GO: The music is absolutely amazing. Cave is a thoughtful interview subject. A fascinating look at the creative process for what will be a landmark album. At times, the film is emotionally wrenching.
REASONS TO STAY: Dominik is too intrusive a director. The interviews are poorly conducted.
FAMILY VALUES:  There is a little bit of profanity and some adult themes.
TRIVIAL PURSUIT:  Other than a screening at the Venice Film Festival, the film debuted on September 8, the day before Skeleton Tree – the band’s sixteenth album – was released.
CRITICAL MASS: As of 9/21/16: Rotten Tomatoes: 100% positive reviews. Metacritic: 92/100.
COMPARISON SHOPPING: Listening to Skeleton Tree in a nice quiet place.
FINAL RATING: 8.5/10
NEXT: Max Rose

New Releases for the Week of September 16, 2016


blair-witchBLAIR WITCH

(Lionsgate) James Allen McCune, Callie Hernandez, Corbin Reid, Brandon Scott, Wes Robinson, Valorie Curry. Directed by Adam Wingard

A group of college student filmmakers go into the Black Hills woods of Maryland  – and we all know that nothing good ever comes of student filmmakers going into the woods – to seek out information about the disappearance of the sister of one of their number. Accompanied by a couple of local guides, the group sets out to camp out in the forest. When night falls, however, they discover a local legend may be all too real – and that the Blair Witch may be far more powerful and evil than they could have possibly imagined.

See the trailer, interviews and B-roll video here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Horror
Now Playing: Wide Release

Rating: R (for language, terror and some disturbing images)

Bridget Jones’s Baby

(Universal) Renee Zellweger, Colin Firth, Patrick Dempsey, Jim Broadbent. The indefatigable Bridget Jones returns, a little bit older perhaps but no wiser. She has broken up with Mark Darcy and at 40-something finds herself single again. After a wild night of ex sex, she hooks up with a spirited American who may be just the tonic that she needs. However, she also finds herself pregnant and the father could be her new beau – or her ex.

See the trailer, clips and a featurette here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Romantic Comedy
Now Playing: Wide Release

Rating: R (for language, sex references and some nudity)

The Good Neighbor

(Vertical) James Caan, Logan Miller, Keir Gilchrist, Laura Innes. In a quiet neighborhood, a couple of high school students who fancy themselves practical jokers decide to take on the curmudgeonly neighbor across the street. They rig up his house so that it appears to be haunted, install some closed circuit cameras and wait for the hilarity to ensue. Suffice to say that their neighbor doesn’t take kindly to these events and things don’t go the way the funny guys think it’s going to.

See the trailer and a clip here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Thriller
Now Playing: AMC Loew’s Universal Cineplex

Rating: NR

Mr. Church

(Cinelou) Eddie Murphy, Britt Robertson, Natascha McElhone, Xavier Samuel. A single mom battling breast cancer and her precocious daughter receive an unusual visitor – a man claiming to have been paid to be their cook for the next six months. Six months become much longer as what had been always planned to be a temporary arrangement becomes a lifelong friendship.

See the trailer here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Drama
Now Playing: AMC Disney Springs

Rating: PG-13 (for thematic elements)

Nick Cave: One More Time with Feeling

(Picturehouse) Nick Cave, Warren Ellis, The Bad Seeds. The creative process of one of the most acclaimed and highly regarded cult performers in rock and roll, Nick Cave and the Bad Seeds, comes to light as the band records their latest album – The Skeleton Tree – in the wake of an unthinkable personal tragedy for Cave.

See the trailer and clips here.
For more on the movie this is the website.

Release Formats: Standard (one showing only: Monday 9/19 at 9:30pm)
Genre: Musical Documentary
Now Playing: Enzian Theater

Rating: NR

The People vs. Fritz Bauer

(Cohen Media Group) Burghart Klauẞner, Ronald Zehrfeld, Michael Schenk, Sebastian Blomberg.  The account of the capture and execution of Nazi war criminal Adolph Eichmann has always been the story of the Israeli Mossad, but it came to light recently that a West German attorney general by the name of Fritz Bauer had much more to do with it than previously known. Bauer, frustrated at his government’s reluctance to pursue people like Eichmann and at the roadblocks thrown up by Nazi sympathizers in powerful government positions, eventually supplied the whereabouts of Eichmann to Mossad. The review of this film will be up shortly.

See the trailer and a clip here.
For more on the movie this is the website.

Release Formats: Standard
Genre: True Life Drama
Now Playing: Regal Winter Park Village

Rating: PG-13 (for mature thematic material, some disturbing images and brief strong language)

Snowden

(Open Road) Joseph Gordon-Levitt, Shailene Woodley, Melissa Leo, Zachary Quinto. Edward Snowden is a whistle-blower who brought to the attention of the world the surveillance tactics of the NSA on American citizens who were accused of no crime. There are many who think he’s a hero but just as many if not more who think he’s a traitor. Currently living in exile in Russia, Snowden’s tale is a controversial one and who better to bring it to the big screen than Oliver Stone, no stranger to controversy himself?

See the trailer and clips here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Biographical Drama
Now Playing: Wide Release

Rating: R (for language and some sexuality/nudity)

A Tale of Love and Darkness

(Focus World) Natalie Portman, Amir Tessler, Shira Haas, Makram Khoury. Israeli writer Amos Oz recalls his youth and his relationship with his mother in the early years of the state of Israel. The stories he tells become the stories he lives. Portman also directed the film.

See the trailer and clips here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Drama
Now Playing: Regal Oviedo Mall

Rating: PG-13 (for thematic content and some disturbing violent images)

Red (2010)


Red

Here's the real reason you want to see the movie.

(Summit) Bruce Willis, Morgan Freeman, John Malkovich, Helen Mirren, Karl Urban, Mary-Louise Parker, Richard Dreyfuss, Brian Cox, Julian McMahon, Rebecca Pidgeon, Ernest Borgnine, James Remar, Emily Kuroda, Audrey Wasilewski. Directed by Robert Schwentke

It’s no secret that our society is extremely youth-oriented. Our elderly we have a tendency to marginalize and cast aside like a used DVD player when the Blu-Ray came out. However, we do so at the potential cost of underestimating the contributions that can still be made by senior citizens.

Frank Moses (Willis) is a retiree living in a small apartment in Cleveland. His life is a quiet one, the highlight of his day being regular phone conversations with Sarah Ross (Parker), a caseworker for the government pension plan who supplies Frank with a monthly check. It’s obvious Frank is attracted to her and she to him; she continues to talk about it while casting nervous glances around to avoid being detected by a disapproving supervisor. They make plans to meet in her home town of Kansas City.

Not long after that he shows up in her apartment, waiting for her there when she comes home after yet another epic fail of a date, babbling wildly about assassins that are after him and that they’re now after her because she’s been talking to him. When she doesn’t believe him, he duct tapes her mouth shut and kidnaps her, driving her to New Orleans. He stashes her in a hotel while he goes to visit Joe Matheson (Freeman), who lives in a rest home where he mainly ogles the nurses, and tries to find a dignified way to die from Stage Four liver cancer. They figure out that someone within the CIA has put a hit out on Frank, but nobody can really figure out why.

Neither can Cooper (Urban), a ramrod-straight CIA operative who has been tasked with taking out Frank. His boss (Pidgeon) sends him down to the archives where Henry the Records Keeper (Borgnine) holds sway. Cooper discovers the “analyst” he’s been told to take out is in reality an ex-field agent who was one of the best the CIA ever had, the kind of guy who toppled governments all by his lonesome once upon a time. Cooper, a family man, is none too pleased by this turn of events but he is, after all, a Company man.

In fact, there’s a conspiracy that goes back to a black ops mission in Guatemala in the 80s and a political situation that is a little more present-day. Frank assembles his old team including Joe, Marvin (Malkovich), a twitchy sort who developed extreme paranoia after being injected with LSD every day back in the 60s, and Victoria (Mirren), a deadly assassin who can best be described as Martha Stewart with a machine gun. There’s also Sarah, who’s now aboard with the program, and Ivan (Cox), an ex-KGB agent who once had a thing for Victoria, and an evil industrialist (Dreyfuss) who knows all the secrets behind the assassins on their tails.

The movie is based on a Warren Ellis comic book that DC published a few years back; it’s much in the vein of The Losers and The Expendables from earlier this year. Schwentke, who we last saw directing The Time Traveler’s Wife, rebounds with a movie that has much more of a fun side than that movie and is much more entertaining at its core. 

Part of that is the cast that would have made heads turn ten years ago. Willis always seems to be winking at the audience when he does these kinds of roles, kind of a John McLean/Jason Bourne love child who has Vin Diesel’s hair stylist. Parker, who of late has become best-known for her work in the Showtime series ”Weeds,” could use some “less is more” philosophy in her acting style but is solid as the romantic lead.

The supporting roles are mostly juicy and the outstanding cast makes full use of them. Freeman is wasted in a role that isn’t really drawn very completely, but Malkovich can chew scenery with the best of them and he does so here. Cox is a truly underrated actor who has become a dependable character actor, giving his character a bit of a twist on the KGB agent with a heart of gold that Robbie Coltrane nailed in the Bond movies and Mirren is…well, Helen Mirren. She can make even bad movies much better, and she takes an unlikely role and just about steals the movie.

The plot is paper thin and twists and turns, ultimately leading nowhere but it’s really meant to be a vehicle for the action sequences, which are solid although not outstanding. Red doesn’t really require a whole lot of thought and delivers a quite a lot of entertainment for the money. It may suffer from a few action movie clichés (like bad guy marksmanship disease, and plucky heroine syndrome, and perhaps a touch of dirty old man-itis) but all of that can be overlooked in the grand scheme of things. After all, nobody goes to an action movie for the plot.

REASONS TO GO: You do see the picture at the top of the blog, don’t you? Great cast, mindless action and a good deal of fun.

REASONS TO STAY: It’s a bit on the fluffy side and the action sequences really don’t add anything to the genre.

FAMILY VALUES: There’s some violence and some bad language but probably nothing I wouldn’t hesitate to show most middle school-age kids.

TRIVIAL PURSUIT: John C. Reilly was originally cast in the John Malkovich role.

HOME OR THEATER: There are a few scenes that probably work better on the big screen but overall I’d say this is more of a home video experience.

FINAL RATING: 6.5/10

TOMORROW: The Spirit