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Love Lies Bleeding (2024)
another gem from Rose Glass
Greetings again from the darkness. The first feature film from writer-director Rose Glass was delayed almost two years due to COVID, but when SAINT MAUD hit in 2021, we knew immediately she was a filmmaker to watch. Along comes her second feature, co-written with Weronika Tofilska, and as a rare lesbian neo-noir, it's sexy and violent and stylishly filmed ... confirming Glass as one to follow.
To ensure that every viewer knows that glitz and glamour will not be featured, we are introduced to Lou (Kisten Stewart) as her gloved hand is elbow deep in a clogged toilet at the gym she manages. The gym is filled with sweaty bodies pumping iron, and Lou looks on mostly disinterested, save for gym rat Daisy (Anna Baryshnikov, Misha's daughter) who is obsessed with Lou thanks to their previous amorous interactions. Though Daisy is smitten, Lou is clearly disinterested, while being as nice as possible. As one lonely heart looking for love, Lou's eyes light up when she spots drifter Jackie (Katy O'Brian, "The Mandalorian") working out one evening. Jackie is making her way to Las Vegas to compete in a bodybuilding competition, and she and Lou hit it off that first night.
The film is set in the late 1980's in some nowhere town in New Mexico, where nefarious doings are the only path to survival. In fact, the most nefarious of the bunch is Lou's father, Lou Sr (Ed Harris). Sporting shoulder length hair that gives him a "Tales from the Crypt" aura, Lou Sr runs a shooting range, while also running guns across the border, and in an unusual choice for a hobby, he collects live bugs. As the local crime lord, Lou Sr has a favorite spot for dumping the bodies of those who cross him.
One other local scumbag on display here is JJ (Dave Franco), husband to Lou's sister Beth (the great Jena Malone). JJ is a world class wife-beater and the source of much angst for Lou ... this despite Beth's constant willingness to forgive her husband, due to her fear of being alone. JJ is the lowest form of life, and when he puts Beth in the hospital, it sends Lou into emotional turmoil, which in turn forces her new lover Jackie to turn She-Hulk, and flash the dark side from her past.
Just about anything that can go wrong for these folks, does. It's an endless stream of bad luck, bad decisions, and just plain bad; however, it's mesmerizing to watch. We see a four-way battle: guns versus muscles versus love versus inner-strength. Some characters get what they deserve, while others just wallow in the mess. Daisy shows she is not as ditzy as she seems once she gains leverage, yet she also proves she's not as clever as she thinks.
The performances here are quite fun to watch - Stewart, (especially) O'Brian, Harris, Baryshnikov, and Malone are all superb, and bring heft to an already creative and heavy-duty story. The score from Clint Mansell is a perfect fit, and Rose Glass's film bears a slight tonal resemblance to the Coen Brothers' classic BLOOD SIMPLE (1984). As in that one, the characters here often zig when we assume they will zag, and though the final act likely jumps the shark for some viewers, there is so much good here, that it prepares us for Glass's future visions.
In theaters beginning March 15, 2024.
5lbs of Pressure (2024)
The Mirror bar
Greetings again from the darkness. With a setting in the Red Hook neighborhood of Brooklyn (though filmed in Manchester, UK), writer-director Phil Allocco has adapted his own 2005 short film THE MIRROR into a gritty and violent feature length crime thriller. For fans of the genre, there is enough here to make it worth watching.
Luke Evans stars as Adam, recently paroled after committing murder 16 years prior. He is 5 years clean, and against all better judgment, he returns to his old neighborhood. Why would he make this choice? Well, he hopes to reconcile with his ex, Donna (Stephanie Leonidas, "American Gothic") and get to know his grown son, Jimmy (Rudy Pankow, who I also watched this week in ACCIDENTAL TEXAN). Donna not only rebuffs Adam's attempts to re-connect, but she begs him to stay away from Jimmy, who she desperately wants to prevent from falling into Adam's old ways. No one seems to believe Adam has turned over a new leaf, and the only job he can secure is as bartender at a dumpy pub called The Mirror.
Allocco begins the movie with an exterior shot of The Mirror Bar where we see and hear gunshots. We then flash back to four days earlier with Adam's parole. The question the opening scene leaves us with is - who is on the wrong end of those gunshots? Slowly (sometimes too slowly) the players in the hood come into focus. Mike (Rory Culkin, the underrated COLUMBUS, 2017) is a rocker wannabe spending his time running risky errands for his Uncle Leff (Alex Pettyfer, MAGIC MIKE, 2012), a drugs and gun dealer who, after his sister's OD, promised to look after her son despite having little faith in him. Mike's friend Eli (Zac Adams) was a witness to his older brother getting shot by Adam all those years ago ... and he remains filled with anger and bitterness. That bitterness shows in how he treats his girlfriend Lori (Savannah Steyn), who mostly just wants a change of locale. Other players here include bad guy ER (Gary McDonald) and Adam's PO played by Julee Cerda.
If you are thinking that's a lot of players in a story about an ex-con, you'd be right. Adam's story is at the center, but there are so many other things being affected by both his presence and the violent nature of street crime, that we feel like we are being introduced to loser after loser. The weight of the past is always hovering, and the themes of crime, revenge, forgiveness, and a desire for a fresh start, all lead to the vicious and endless cycle we've come to expect from these movies. We learn what the title refers to, and how art can act as a bonding agent if given a chance. Adam and Mike are the film's most interesting characters, yet most of the others get a bit shortchanged.
Opening in theaters, on digital and OnDemand beginning March 8, 2024.
American Dreamer (2022)
actively dying
Greetings again from the darkness. Owning a home remains the American Dream, and being unrealistic about the topic makes one an American Dreamer. The first few scenes of the film make it obvious that American Dreamer is not just the title of Dr. Phil Loder's in-progress novel, but also a term that describes him. This is Paul Dektor's directorial debut, and the script is co-written by Theodore Melfi (HIDDEN FIGURES 2016, ST VINCENT 2014) and Christopher Wehner. It's loosely based on a true story.
Phil (Peter Dinklage) is an adjunct college professor who dreams of purchasing one of the multi-million-dollar mansions in the market. Inexplicably, he often crashes the open houses on these properties, or has his friend Dell schedule a viewing appointment. It's inexplicable because Phil earns less than $50k per year. Dell (1980's heartthrob Matt Dillon) is a smug high-producing realtor, and we never quite understand the bond between he and Phil. They are like oil(y) and vinegar, and Dell cuts to the quick when he tells Phil, "You're a dreamer, not a doer." (Just in case every single viewer hasn't quickly figured that out)
We've all heard the adage: if it's too good to be true, it probably is. Well, Phil proceeds to learn this lesson over and over ... whether it's through a real estate deal or the attraction of a beautiful woman. When Phil stumbles on an ad (in the classifieds section, no less), he has Dell check it out. The "deal" is for $240k, Phil can buy one of the spectacular mansions he's been dreaming of. The catch? He must accept a "live-in" - the current owner, an elderly woman who Dell describes as "actively dying". Phil is confined to a small, run-down apartment on the property "til she croaks".
Of course, like Doc Holiday in TOMBSTONE, the elderly woman wasn't quite as sick as she made out. Astrid Fanelli (Oscar winner Shirley MacLaine) intends to hold Phil to the agreement which includes his paying upkeep, repairs, and property taxes. This is just one of the pieces that is never explained and makes zero sense. It's clear, these two will go one of two ways - either fight like proverbial cats and dogs, or become close friends.
Phil teaches a class in cultural economics, and the first question he asks his class is, "What do we need to be happy?". Similar to the novel he's writing, there is a "we see right through you" element to the autobiographical account of Phil's own thoughts and dreams (including a fantasy relationship with twin beauties). Bottom line, Phil is not a likable guy, especially after liquidating his retirement fund and selling his personal belongings to get this "deal" (Phil is later seen packing up a U-Haul, though we never see him buy anything after liquidation of his assets).
Supporting work is by Danny Pudi ("Community") as Phil's supervisor, Michelle Mylett ("Letterkenney") as Phil's amorous student, Kimberly Quinn (HIDDEN FIGURES, 2016) as Astrid's lawyer "daughter" and yet another with amorous intentions (though conflicted) towards Phil, and Danny Glover (at 78, not getting too old for this "stuff") as a Private Investigator. The film belongs to Mr. Dinklage and Ms. MacLaine, and they do all they can with the material, expertly generating some terrific scenes ... scenes that too often get crushed by the weight of other scenes and subplots that make little sense. Beyond that, though no one should be pleased with how the characters of Maggie and Claire are written, the film is certainly watchable, even with a weak ending.
In select theaters and OnDemand beginning March 8, 2024.
Chocolate Lizards (2023)
now I'm a land man ... action
Greetings again from the darkness. Life in west Texas can be harsh. There is nothing romantic or picturesque about the land ... unless you are one of the lucky land/lease owners who have become rich by striking oil. Complementing his long career in the art departments of some massive blockbusters, Mark Lambert Bristol directs his second feature film from a script Julie B Denny, adapted from the 1999 novel "Chocolate Lizards" by Cole Thompson.
Former Harvard student Erwin Vandeveer (Rudy Pankow, who I also saw in 5 LBS OF PRESSURE this week) has just gotten his big break as an actor. He hits the road for the drive from Los Angeles to New Orleans, and is awed by having his name on a set trailer. Now, we've all had some jerk ruin the moment during a movie by checking a cell phone, but you've never seen it happen to the extreme that Erwin experiences when his goes off during his first scene. It's funny for us and devastating for him. On the trip home (after being fired from the movie), his Saab breaks down in Buffalo Gap, Texas. At the local diner run by Faye (Carrie-Anne Moss of THE MATRIX fame), oil driller Merle (Thomas Haden Church, SIDEWAYS, 2004) makes a deal with the desperate Erwin: Use his acting skills to impersonate a land man, and Merle will pay for the car repairs.
Erwin soon realizes Merle is every bit as desperate as he is. The bank is ready to foreclose on his rig, sending him into bankruptcy. His window is narrow to save his business, way of life, and pride. An unconventional (and not altogether above-board) collaboration with Erwin, is Merle's last hope, as is a plot of land owned by local old codger Scheermeyer (Bruce Dern, at age 88, his 65 year career is still going strong). The age-old battle of the 'little guy' taking on the big and corrupt system is at play here, and the clock is ticking.
Most of this is easily predictable, yet the three lead actors work their magic to ensure we remain on board and engaged. Thomas Haden Church is especially effective here, though we do wish Carrie-Anne Moss was given more to do. The ending is pretty hokey, and has a "sports movie" feel ... you know, last second Touchdown, game winning Home Run, or buzzer-beater basket. Still, we all can appreciate a feel-good story, and a reminder that when folks are at their lowest point, sometimes it only takes a helping hand from a neighbor, or even a stranger, to pick them back up.
In theaters beginning March 8, 2024.
Ricky Stanicky (2024)
retro Farrelly and leading man Cena
Greetings again from the darkness. Honesty is the best policy. At least that's the lesson we were taught growing up. What we learn as we get older is that very few adhere consistently to that policy, and in fact, many pride themselves on an ability to mislead. On "Seinfeld", George Costanza stated quite succinctly, "It's not a lie if you believe it." Sadly, far too many are able to believe the web of lies they spread. But then, this film is from writer/director/producer Peter Farrelly, a double Oscar winner for GREEN BOOK (2020), and best known for the zany comedies he co-directed with his brother Bobby, including DUMB AND DUMBER (1994) and THERE'S SOMETHING ABOUT MARY (1998). If any filmmaker can make lying funny, it should be a Farrelly brother.
The film starts where it should ... by showing us the childhood prank that led to the recurring lie. It's Halloween night and three buddies decide to prank the house that never gives out candy. The prank goes terribly wrong, and the imaginary Ricky Stanicky gets blamed, allowing our three young heroes to escape their first mess and setting the stage for 20 years of alibis. As adults, Dean (Zac Efron, fresh off his superb turn in THE IRON CLAW), JT (Andrew Santino), and Wes (Jermaine Fowler) continue to use their make-believe friend as a reason to take yet another boys' trip away from wives and partners and jobs and responsibilities. To ensure their stories stay straight, the men update "the bible", which is a chronology of the Stanicky lies they crafted over the years.
The latest Stanicky tall tale involves cancer and a trip to Atlantic City for a concert ... a trip that allows JT to skip the baby shower his wife has planned. Circumstances being what they are, the trip is cut short, but before they leave, their paths cross with a hard-raunch celebrity impersonator with the stage name Rock Hard Rod (John Cena). Soon, the boys are calling Rod to play the role of Ricky Stanicky so that friends and family can meet the legend in the flesh. The rest of the movie involves the sometimes hilarious, sometimes not, shenanigans of Rod becoming Ricky Stanicky. As with most lies, things get more complicated and convoluted with each passing moment.
"The best friend we never had" becomes a complex challenge that threatens to ruin all relationships and careers. William H Macy plays Summerhayes, an old school businessman and boss to Dean and JT. Macy plays it straight here, but his 'air guitar' with an unfortunate Farrelly twist makes for a comical segment - as does Summerhayes' evolving thoughts on Stanicky, who by this time, has charmed (and tricked) all whom he's met and even cleverly overstepped at the Bris for JT's baby. Dean's wife Erin (Lex Scott Davis) is a reporter and sees Stanicky as her ticket to a better gig. It's a bit sad that Ms. Davis has the only female role with any substance here.
Sir Walter Scott wisely commented, "Oh, what a tangled web we weave." Director Farrelly, working with a throwback comedy script from too many writers to name here, manages to find the humor in serial dishonesty, while also pointing out that the above-mentioned web is almost certain to nab the perpetrator(s) in the end. Farrelly also manages to check most of the PC boxes, while also showering us with his trademark inappropriateness. However, it's John Cena's energetic performance that shines here and keeps the film clicking along after a somewhat slow start. Cena proves he can carry a comedy.
Available on Prime Video beginning March 7, 2024.
Spaceman (2024)
hug a spider
Greetings again from the darkness. Have you hugged a spider today? Adam Sandler has. Well, technically it's his character who does the hugging. Jakub Prochazka, is a Czech astronaut 189 days into his year long mission. He's flying solo on "the outskirts of Jupiter" to explore the Chopra cloud which is expected to reveal the beginning of time. Honestly, it feels like a job worthy of more than one man, however, that's what the source material provides. Based on the 2017 book "Spaceman of Bohemia" by Jaroslav Kalfar, Johan Renck directs the adapted screenplay by Colby Day. Mr. Renck is not one that jumps to mind when thinking of an Adam Sandler movie. His previous credits include the excellent mini-series "Chernobyl", as well as multiple episodes of acclaimed series, "Breaking Bad" and "Bloodline".
The reality is that Adam Sandler is a solid dramatic actor, as evidenced by his roles in PUNCH-DRUNK LOVE (2002), and more recently, THE MEYEROWITZ STORIES (2017) and UNCUT GEMS (2019). In fact, many of us much prefer heavy-drama Sandler to goofy-comedy Sandler. In this latest, he goes low-key extreme. In fact, Jakub is rapidly sinking into depression, though it has little to do with the loneliness and solitude of space. That's right ... it's a woman. His pregnant wife, Lenka (the always stellar Carey Mulligan) is missing and won't communicate with her galactic husband. We know what's going on with her, but the mission Commander (Isabella Rossellini) refuses to tell Jakub due to his fragile mental state. On top of that, his deteriorating spacecraft is preventing him from sleeping properly.
Soon, that rickety old space toilet is the least of Jakub's worries. He's sharing the claustrophobic space with a giant talking spider. Jakub is unsure if this is a figment of his imagination or some alien creature. Passively voiced by Paul Dano, Hanus the arachnid initially appears to be a manifestation of Jakub's subconscious, but as time goes on, it appears he's a creature with knowledge of the universe. The low-key vocals from Jakub and Hanus don't generate much excitement for us viewers, but the therapy Hanus provides, allows Jakub to better understand himself ... and also drives Hanus to binge eat. There are no Sandler tantrums or screaming moments ... instead his sad eyes and droopy face tell us much about Jakub.
Hanus calls Jakub "skinny human" so many times, it feels like that should be the film's title. It gets old pretty quickly. Other supporting work comes from Kunal Nayyar as Jakub's virtual doc, and Lena Olin as Lenka's mother, although the film struggles to give anyone beyond Jakub much definition (including the underutilized Mulligan). It's a bit baffling to look at this cast and associate them with the Czech Republic space program, but it's Hollywood, where the 20-year age cap between Sandler and Mulligan also matters little. The film spent almost three years in post-production for reasons I don't know, but it's safe to say it's one of the better talking spider movies you'll see, yet not one of the finest lonely astronaut flicks.
Begins streaming on Netflix on March 1, 2024.
Pitch People (1999)
step right up
Greetings again from the darkness. It's been 25 years since this documentary from Stanley Jacobs made the festival rounds, and now his 1999 film has gained an "anniversary" release in theaters and on 4K digital. Those of us of a certain age recall our favorite TV shows being interrupted with commercials for the latest "As Seen on TV" products. Ginsu knives and Pocket Fisherman were two of the most prominent, yet there were dozens more that gained airtime. What stood out was the excitement of those presenting the products, making that day's miracle seem like a must-have for everyone ... well except the Ronco Salad Shooter held little appeal for my younger self. But a Ginsu knife that cut through tin cans? I could find a use for that!
Jacobs' tracks the origins of pitch people back to the days of traveling 'Medicine Men' and their cure-all potions, to the untrusted 'Snake Oil' salesmen (who were often the same folks). What's clear is that we humans have always (and continue to) been enticed by anything promised to make our daily lives easier and better ... or as PT Barnum (supposedly) said, "There's a sucker born every minute." Of course, one need not have traveled in a covered wagon or even grown up with limited network TV in the 1970's to have been mesmerized by the best (or even mediocre) pitch people. Every county and state fair, and most every trade show, car show, and conference, features the entertaining sideshow of a pitch person and their slight-of-hand, fast-talking presentation of some gadget. What Jacobs shows us is that these masters of oratory skills typically take great pride in their talent and results.
Pitchers, hawkers, grafters, barkers, salespeople ... it matters little what label is applied. Their job is to draw folks in, set the hook, and make the sale. The more fun you have with the pitch, the more likely you are to part with greenbacks (or tap your card these days). Ron Popeil (and his RonCo) may be the most famous and successful, and here, Jacobs details Popeil's dad as well as the birth of the infomercial. Ed McMahon of Johnny Carson fame gets his own segment, and we experience how the pitch, once mastered, stays within the pitch person. We also hear from many others who work in this profession, some you'll recognize, others you'll feel like you should.
Slicers and dicers, miracle mops, and cookware, as well as anything "-O-Matic", are big players in this market, and we find it entertaining to watch the pitch, but also see the reactions of those gathered around the booth at the fair. It's quite a phenomenon, and one that Stanley Jacobs expertly captured in this documentary from many years ago ... one certainly due a resurgence.
Opening in select theaters in 4K beginning March 1, 2024.
Asleep in My Palm (2023)
off the grid
Greetings again from the darkness. The extreme political divisions that exist in the United States today are well-documented and often discussed. The first feature from writer-director Henry Nelson eschews politics and instead looks at class differences - and even deeper into the role of human connections and family bonds. As a new filmmaker, it certainly doesn't hurt to have an incredible actor as your dad, especially one willing to dive headfirst into the lead role of your gritty and intimate drama.
Tim Blake Nelson has evolved into a must-see actor. He manages to make each role his own, whether in support (O BROTHER, WHERE ART THOU?, 2000) or as the lead (OLD HENRY, 2021). Here he stars as the bearded father to 16-year-old Beth Ann (an outstanding Chloe Kerwin, "The Marvelous Mrs Maisel"). When we first see them, dad is telling a creative bedtime version of Chicken Little to his daughter, complete with frequent blue language. A short while later we see the two are living in a storage unit, about as far off the grid as a father-daughter can get.
During the initial Chicken Little story, dad says, "everybody has a breaking point". We know immediately that this is foreshadowing as well as an explanation for what has already happened. We quickly bond with father and daughter, although dad is often a bit prickly, an attribute we chalk up to PTSD. What we don't doubt is his commitment to Beth Ann and his need to protect her from outside forces, aka society. Dad doesn't talk much about himself or his past, but he frequently serves up lessons, often based on religion, that are meant to convince their way is the only way.
An occurrence with his partner in crime (Jared Abrahamson) becomes a way forward, but at the same time, Beth Ann is exposed to some of the students at a nearby college and becomes intrigued by Millah (a memorable Gus Birney). As viewers we are forced to consider the effects of isolation, loneliness, parental judgement, and teenage curiosity ... both before and after the film's excellent twist that few will see coming. Not only is this a nice showcase for Tim Blake Nelson, Chloe Kerwin, and Gus Birney, it's also a solid debut from writer-director Henry Nelson.
In theaters on March 1, 2024, on VOD March 19, and streaming April 19.
Ordinary Angels (2024)
the power of people and community
Greetings again from the darkness. Ed Schmitt has lost his faith. His wife dies, leaving him with two young daughters ... the youngest of which, due to Biliary Artesia, needs a liver transplant to avoid her mother's tragic fate. These circumstances have straddled Ed with $400,000 in medical bills, and the possibility of losing his precious daughter before a donor can be found. Directed by Jon Gunn (MY DATE WITH DREW documentary, 2004), the film is based on a true story with a screenplay by Kelly Fremong Craig (THE EDGE OF SEVENTEEN 2016; ARE YOU THERE GOD? IT'S ME, MARGARET 2023) and actress Meg Tilly (her first screenplay).
Two-time Oscar winner Hilary Swank stars as Sharon Stevens, a middle-aged hairdresser and alcoholic party girl. We see her at her inebriated peak, dancing on the bar in her tasseled boots - right up until she falls off. Her salon partner Rose (Tamala Jones) does what any good friend would do - takes her to an AA meeting. Of course, Sharon refuses to admit she's an alcoholic, but afterwards, as she's in line to buy a six-pack, a local newspaper headline catches her eye. Five-year-old Michelle Schmitt (Emily Mitchelly) has recently lost her mom, and now has severe medical issues herself. Something awakens in Sharon and she organizes a Hair-A-Thon to fundraise for Michelle.
Michelle's dad, Ed, is a hulking man played by Alan Ritchson ("Reacher"). He's a soft-spoken man whose pride and guilt is consuming him. He and Sharon couldn't be less alike, but Sharon dedicates herself to helping Michelle and Ed, as well as the older daughter (Skywalker Hughes), and Ed's mother (Nancy Travis). Sharon seems intent on doing something good with her life, yet the addiction tendencies are ever-present, no matter how much the girls admire her sparkly skirts and neon heels.
This is 1993 in Louisville, Kentucky, and it's obvious the writers have taken a great deal of dramatic license to up the ante on the hurdles facing Ed, Michelle, and Sharon. In fact, some of it is overkill, as the actual story is plenty heartwarming. These days, it's enjoyable to watch folks helping others, and when the community comes together for the film's most dramatic moment, it's sure to bring a tear to the eyes of many viewers. We are all flawed humans, but Sharon proves that helping others (even those too proud to ask) is a reward in and of itself. Director Gunn ends the film with real life updates (and photos) of Sharon and the Schmitts, plus songs by Wendlo and Dave Matthews.
Rated PG and opening in theaters nationwide on February 23, 2024.
Stopmotion (2023)
a slow descent
Greetings again from the darkness. The art of stop-motion consists of bringing hunks of clay to life and telling an interesting story. It's excruciatingly slow work requiring meticulous attention to detail. The first feature length film from animator-turned-writer/director Robert Morgan is co-written with Robin King, and pays homage to this distinct art form. Of course, since it's a horror film, it also makes good use of the adage ... an artist being consumed by their art.
Aisling Franciosa (so memorable in THE NIGHTINGALE, 2018) stars as Ella Blake, who is assisting her mother (Stella Gonet), a renowned stop-motion artist, with her "last film". Arthritis has seized mom's hands and so she barks orders at her daughter in frustration of her own limitations. Once out from under her mother's controlling ways, Ella finds her own space in an old apartment, where she begins to pursue her own vision. Soon she's visited by an odd and inquisitive little girl (Caolinn Springall), presumably from the neighborhood. The girl labels Ella's work "boring" and proceeds to tell her own story about Ashman, who haunts a girl in the forest over three nights. Ella is captivated, and we quickly recognize she is in the midst of a slow descent into madness ... unaware of who this little girl actually is.
Director Morgan first introduces us to Ella over the opening credits. The flashing lights in a nightclub play visual tricks, and Ella alternates between good and evil looks (think of the two-face syndrome in "Seinfeld"). This is an early clue about the film's path. Morgan also provides contrast between the stark working conditions of the studio (whether it's mom's basement or Ella's apartment) and the more lively and colorful clubs and parties where she hangs out with her boyfriend (Tom York). Adding to the film's visual treats are some unusual camera angles courtesy of cinematographer Leo Hinstin.
The final act features some extreme gore, so be prepared. It's rare for a film to feature raw meat, a dead fox, maggots, and mutilation, but few films have successfully blended the use of stop-action animation with live-action drama. Aisling Franciosa has the instincts to convincingly portray a troubled artist when the wires are crossed between reality and creativity. Getting creeped out is all part of the show.
Opens in theaters on February 23, 2024.
Red Right Hand (2024)
a surprising backwoods crime thriller
Greetings again from the darkness. Regardless of how attractive the real estate prices seem, it's usually best to avoid small rural towns controlled by a violent crime boss nicknamed Big Cat. Especially when she doesn't hesitate to make an example of those who cross her, and she 'owns' the local Sheriff and runs drugs throughout the area. Even those who break away from her organization are likely to get dragged back in, 'do this or else' style, if Big Cat wants them back. It's a self-perpetuating cesspool of control and being controlled.
The SMALL TOWN CRIME (2018) directing team of brothers Eshom Nelms and Ian Nelms re-team to direct this surprisingly engaging backwoods crime thriller, with a screenplay from Jonathan Easley (his first). What's surprising about this is most movies of this genre are pretty simple and easy to predict. In this one, there are certainly some familiar tropes, but the depth of characters and the against-type performance by Orlando Bloom make this one quite a bit of fun. Also going against-type here is Andie MacDowell as Big Cat. It's her darkest role yet, and she seems to embrace the evil.
Mr. Bloom stars as Cash, a greasy, tatted, ripped dude with a Kentucky accent who is diligently working to keep his life on a good path. His past includes a beloved sister who passed away, severe alcoholism, and a life of crime while working as Big Cat's henchman. His life motto is "God-Family-Survival", and he's dedicated to his struggling brother-in-law, Finney (Scott Haze) and whip smart ninth grade niece, Savannah (newcomer Chapel Oaks). When Cash discovers that Finney has mortgaged the family farm to Big Cat, he quickly realizes he must cut a deal with his former boss to save what's left of his family. As Michael Corleone says, "they pull me back in."
Big Cat values Cash's cool head under pressure - especially as compared to her other redneck lackeys. Her one misjudgment is in underestimating Cash after she has attacked his family. This leads to a blaze of violence and one crazy shootout on the grounds of Big Cat's estate. Supporting work is provided here by the always excellent Garrett Dillahunt (here as a rehabilitated preacher), Brian Geraghty as the Sheriff, Mo McRae as the good-intentioned Deputy, and Daniel David Stewart as Big Cat's ponytailed corrupt banker son. Johnny Derango adds some quality cinematography to this surprisingly intricate and well-developed crime thriller.
Magnolia Pictures will release the film in theaters and on VOD February 23, 2024.
The Hobby (2024)
was kid fun, now big biz
Greetings again from the darkness. As a kid and blossoming baseball fanatic, there were few things more exciting than ripping into a new pack of baseball cards. While some friends used clothes pins to attach them to bike wheels for a cool sound, I preferred to study the cards, especially the statistics and brief bio on the back. Often, the flat panel of bubble gum included was so stale it would snap in two, but the smell of a pack remains ingrained in my olfactory memory bank all these years later. In this documentary, Morgan Jon Fox explores the difference between traditional card hobbyists and new age collectable card investors, and introduces us to the people driving the changes.
New York Times reporter Paul Sullivan starts things off by recounting the investigative series he published on the collectable card industry. He admits to being shocked that not only were some cards selling millions of dollars, but also of how the card market had become just that ... a true marketplace. No longer was it just adolescents swapping a Robin Yount for a Reggie Jackson. Where there had once been passionate collectors as hobbyists, there were now passionate investors - only they weren't passionate like fans of the players on the card, instead they were passionate and focused on making money. RBI stats had been replaced by ROI, and these people were serious. Even the product evolved - trading cards were now collectable cards. And no one was putting them on their bicycle spokes.
Filmmaker Fox provides a bit of history for us. Cards date back to 1869 and were included in tobacco, candy, and gum packs. It was Topps who invented the modern-day collectables in 1952. This is also the year of the infamous Mickey Mantle rookie card that caused values, and the card market, to explode. The story behind this is quite surprising and detailed in the film. As the market for cards grew, more companies joined in. Competing with originator Topps were Fleer, Upper Deck, and Panini, and in 2021, the industry shifted again. Powerhouse retailer Fanatics and co-founder Josh Luber gained exclusivity for football, baseball, and basketball. Trade shows, podcasts, and websites all led to the growth in values which then led to popularity. What was once childhood fun, was now big business.
This was filmed in 2021-2022 when collectable cards were showing tremendous value jumps, and at the time, it was estimated that the market could be worth $100 billion by 2027. Not long after, values for many cards, and for the industry as a whole, plummeted. The rarest cards held up, but the mass market continues to struggle. The concern from insiders is that the market could 'age out' like stamp collecting has. Efforts are underway to draw more kids into collecting, and also expand the 'non-sports' market, which includes cards like Pokemon, Star Wars, Marvel, and Harry Potter. Fox even shows us some old Presidential collectables that feature Abraham Lincoln. While the line has certainly blurred between investor and hobbyist, it appears those who focus on a specific segment are now the most successful.
Available TVOD on February 16, 2024.
Bleeding Love (2023)
arachno road trip
Greetings again from the darkness. There is no shortage of movies depicting the challenges associated with being a parent, although there is an added element of interest when a real-life father and daughter are cast in the lead roles (remember PAPER MOON with Ryan and Tatum O'Neal?). Such is the case with this first feature film from director Emma Westenberg, co-written by Vera Bulder, Ruby Caster, and Elle Malan. Ewan McGregor and his daughter Clara McGregor co-star in a dramatic father-daughter road movie filled with awkward moments.
No character names are given, so we'll have to refer to them as Ewan/father and Clara/daughter. After Clara overdoses, long-estranged dad shows up to drive her from San Diego to Santa Fe, where he tells her she can stay with an artist friend in hopes of rekindling her passion for art. Of course, that is a lie because that's what dad's do after they've drunkenly walked away from their family years ago. Ewan plays a recovering alcoholic who has started a new life by re-marrying and having a young son. Clara, on the other hand, is an addict with no direction in life, other than wanting to run from dad and get the next fix.
These two mismatched blood relatives have only flashbacks to her childhood in common. Dad is trying to make amends, and 20-year-old daughter just pouts and spews anger. It's a road trip movie that requires only one night in a roadside motel. When Dad's truck breaks down, they encounter a live-wire tow truck driver (Kim Zimmer), who drops them at a small town birthday party where the big gift for a young boy is a rifle. It's here where Clara meets a young man (Jake Weary, excellent in the series "Animal Kingdom", and Ms. Zimmer's real-life son) who assists with some much needed booze for the underage lass. Once back on the road, Clara gets a spider bite on her lady bits, and it's a local prostitute (Vera Bulder) dreaming of Broadway who provides guidance.
A road trip movie typically requires these types of interactions to hold our interest, but the missed opportunity here comes from real life father-daughter dynamics. Ewan and Clara play off each other very well, but simply needed more friction and conflict to make this believable. The expected reconciliation hits too few speed bumps, and a hokey AA meeting produces more cringe than tears. The movie feels over-directed, when letting these two go at each other full force is what they needed ... and what we needed as viewers.
In select theaters and OnDemand beginning February 16, 2024.
La passion de Dodin Bouffant (2023)
loving what you do
Greetings again from the darkness. I do not cook and have never had an interest in learning to. Still, I do understand how some are drawn to it as an art form ... creating new dishes and new flavors, while generating such pleasurable sensations across the palettes of others. It's a passion like many professions (or hobbies), and it's one that is best shared with others.
This is the first film from writer-director Anh Hung Tron since 2016, and he has adapted the popular novel, "The Passionate Epicure" by Marcel Rouff. An extended opening scene (30 plus minutes) features a camera weaving in and around the activities in a kitchen where a gourmet meal is being prepared. Chit-chat does not occur. These people know their work and go about preparing multiple dishes precisely, meticulously, and expertly. Specific timing is the only thing requiring spoken language. Despite this, we learn much about these folks.
Juliette Binoche (Oscar winner, THE ENGLISH PATIENT, 1996) portrays Eugenie, the cook to gourmet chef Dodin, played by Benoit Magimel. Dodin periodically takes leave to mingle with guests, while Eugenie finds pure joy in her task at hand. Two assistants Violette (Galatea Bellugi) and Pauline (Bonnie Chagneau-Ravoire) work efficiently and quickly. Pauline is young and relatively new to the kitchen, yet she possesses a preternatural taste palette and flavor instincts, while Violette is a long-trusted staffer. As viewers, we are in awe of the precision and coordinated efforts that go into preparing world class dishes.
As the film progresses, we learn Dodin has proposed marriage to Eugenie many times over the years. She has always turned him down, choosing instead their kitchen partnership as well as occasional evening soirees in her room (when the door is unlocked). This arrangement works for her and has made him famous in the culinary world. Love and respect exists between the two, and he worries about her too-frequent fainting spells and light-hearted moments. Their conversation one evening after work tells us all we (and they) need to know. As for their backstory, given Eugenie's mentorship of Pauline, we can't help but wonder if maybe Dodin had once recognized such rare talent in Eugenie some twenty years past.
This is a film, and these are performances, meant to be savored every bit as much as the dishes we see prepared and the garden Eugenie tends. It's a delicate world that requires precise movements and commitment ... just as any relationship. We can all strive to find the joy and satisfaction on display here, despite knowing that these types of connections will at some point lead to loss.
In theaters on February 14, 2024.
The Beekeeper (2024)
buzz and kill
Greetings again from the darkness. For those who take pride in their ability to keep track of body counts in movies, I can only say, best of luck with this one. Boom. Bang. Punch. Kick. Stab. Choke. Flip. Our hero, acting alone, uses every available attack to neutralize armies, SWAT teams, trained security teams, and greedy scumbags ... all in the name of "protecting the hive". OK, it's mostly for revenge for causing the death of "the only person who took care of me."
Director David Ayer (END OF WATCH 2012, SUICIDE SQUAD 2016) and screenwriter Kurt Wimmer (SALT, 2010) are very much at home in the action-violence genre, and adding the king of cinematic hand-to-hand combat, Jason Statham, to the mix can only mean more action and more fighting and more violence. There is no reason to critique a movie that delivers exactly what it sets out to deliver to an audience that expects exactly that.
Statham is in prime form as Adam Clay, a beekeeper on a farm owned by retired teacher Elise Parker (Phylicia Rashad, CREED). When a phishing scam drains her bank accounts, including that of the non-profit she administers, Clay reacts to the subsequent tragedy by tracking down the culprits of the scheme. Tech fraudsters are easy targets because we all despise them, and the film plays that up by exaggerating the obnoxious nature of those involved. A miscast Josh Hutcherson (THE HUNGER GAMES) plays Derek Danforth, an entitled little bleep who skateboards in the office to his next massage and wears outlandish outfits befitting a person desperate for attention. Adding to the psychological drama is FBI Agent Verona Parker (Emmy Raver-Lampman, "The Umbrella Academy"), the daughter of Elise, the woman who put Clay on his mission of reckoning.
Additional supporting roles include Bobby Naderi as Verona's FBI partner, Jemma Redgrave as the President, a brief appearance by Minnie Driver as the FBI director (she takes three quick phone calls), and Oscar winner Jeremy Irons as Wallace Westwyld, the retired agent charged with keeping Derek safe. The hook here is that beekeeper Clay is actually a retired secret agent known as "the Beekeeper", and in one of the oddest sequences, his replacement (a wild character inspired by Prince?) brings a Gatling gun to try and end Clay once and for all. The film is silly and absurd, and right up the alley of those who embrace Statham's stoic bulldozer of a man.
The Private Eye (2024)
memories
Greetings again from the darkness. Robin Williams. Richard Pryor. Jim Carrey. Michael Keaton. Whoopi Goldberg. That's just a few of the stand-up comedians who successfully transitioned to acting in movies. While it seems like a natural next step, there have been even more for whom the transition simply didn't work, although a TV series seems to be a worthwhile fallback for most. Matt Rife becomes the latest to take the leap from late night comedy club gigs to the silver screen. As an internet sensation, Mr. Rife has a built-in following, despite the recent backlash over his poor choice of jokes.
What he doesn't have, or at least doesn't show here, is the acting talent to carry a movie. He certainly looks the part, and the role seems to offer the opportunity to flash his chops, however his scenes mostly fall flat. Writer-director Jack Cook and co-writers Hope Ayiyi and Rosalinda Books have latched onto a favorite Hollywood genre, which the title too obviously identifies. Rife, as Mort Madison, dons the fedora hat, a trench coat, and lights a cigarette to ensure we viewers are in full gumshoe mode.
Mort is struggling. His client list consists only of a young neighborhood boy whose pet has run away. Desperately in need of money, he tells the boy to bring his piggy bank, and then turns back into his pig sty of a filthy apartment. Filmmaker Cook keeps us in black and white until "the dame" shows up. Transitioning to color, we note his new client, Michelle (Clare Grant), not only is dressed in red, but she also offers Mort a retainer for her case. Of course, there is an attraction between the two, yet Mort always seems a step behind, especially for a detective. It's clear, something isn't right with him.
His flashbacks take him to his solving a string of video store robberies, and even this is followed later by a scene that telegraphs what's happening. There is even a scene where Matt slips and falls in the shower. When he regains consciousness, the water is no longer running. We correctly assume this isn't a clue, but rather a flaw. The next key player here is David (played by Elliott), Michelle's psycho-therapist friend who also seems out of step with the story and movie.
I don't enjoy negative criticism towards the work of others, so I'll add a bit of the bright side. We get Eric Roberts as the film's narrator, and he later shows up as a character who crosses paths with Mort. It seems this was meant to trick us, but any twists that might have looked good on paper, never really click on the screen, and certainly don't surprise. There is (finally) a humorous scene featuring Erik Griffin as taxi driver, Crazy Carl. Griffin gets the film's best line as he brandishes a pistol, telling Mort, "I already cocked it. I gotta shoot somebody." A few other attempts at humor just don't work, and it proves that one "touché" per film is sufficient. The film is easily 30 minutes longer than necessary, and we can only hope this has been a learning experience for all involved, and improvement will be seen in their next projects.
In theaters beginning February 9, 2024.
Molli and Max in the Future (2023)
unconventional banter across dimensions
Greetings again from the darkness. I'll readily admit that I'm not an expert in outer space-based Science Fiction Romantic-Comedies. If you press me for a description of writer-director Michael Luk Litwak's film, it would be "WHEN HARRY MET SALLY ... in future space". Of course, this low budget flick is no match for Rob Reiner's classic 1989 Rom-Com, yet the mismatched couple and the recurring spontaneous meetups does strike some familiar chords.
Zosia Mamet stars as Molli and Aristotle Athari is Max. Zosia is a quirky actress known for "Girls" and the daughter of renowned writer David Mamet. Aristotle is best known for the season he spent on "Saturday Night Live". This isn't one of those shock-and-awe super special effects sci-fi spectacles. Instead, beginning in Chapter One, spaceships collide. One driven by Molli and one by uninsured Max. Rather than bicker over fault, the two display out-of-this-world chemistry ... unorthodox chemistry for sure ... but chemistry nonetheless.
Beginning with that initial bonding, viewers should brace themselves for non-stop banter whenever Molli and Max are together - something that happens frequently over the 12 years featured here. These reunions occur on various planets, across multiple dimensions, during a relationship with a robot, after joining a cult, and while living as a celebrity. One's enjoyment of the film will surely be determined by how the rapid-fire dialogue strikes - is it charming or grating? Those charmed will likely focus on the friendship/romantic two-step. Those annoyed will likely notice the political angle that filmmaker Litwak tries to sneak in.
With Special Effects intentionally a notch below BARBARELLA (1968) and FLASH GORDON (1980), the green screen images may be cartoonish, but they fit with the overall tone here. This feels like one of those films that will find a very receptive niche following, while others will be baffled by the appeal.
In theaters beginning February 9, 2024.
Upgraded (2024)
the faces may change, but ...
Greetings again from the darkness. There is something to be said for 'fake it 'til you make it', but most of us find bold-faced lying is a bit more difficult to root for. There is also something to be said for keeping to the familiar path, as therein lies safety. Adhering to the familiar is exactly what actress-turned-director Carlson Young has accomplished with the script from co-writers Christine Lenig, Luke Spencer Roberts, and Justin Matthews. We know where this is headed once we hear Anna interpret a piece of art she has mounted (without permission) in the small apartment her sister and (overly boisterous) brother-in-law have allowed her to stay since she's in debt and without income.
Anna (Camila Mendes, "Riverdale) is chasing her dream of owning an art gallery, and has relocated to NYC for an internship at an art auction house run by dragon-boss Claire DuPont (Oscar winner Marisa Tomei in full Miranda Priestley mode). The Romantic Comedy formula kicks in pretty quickly as Anna gets a break at work and is invited to accompany Claire and her 'mean girl' minions to London for a big auction. Those minions (Fola Evans-Akingbola and Rachel Matthews) act as cruel stepmoms to Anna's Cinderella. The required meet-cute happens after Anna's titular upgrade to first class. While enjoying the airport spa, Anna accidentally dumps her Bloody Mary on rich boy Will's high-dollar clothes and shoes.
Anna and Will (Archie Reneax, THE GREATEST BEER RUN EVER, 2022) are of course seated next to each other in first class for the transatlantic flight. It's at this point where she chooses to avoid clarifying her role at the auction house, allowing Will (he's rich and he adores kids!) to believe she's the youngest Director in company history. This lie spirals as Anna weaves her way into the daily life of princely Will and his wealthy mom Catherine (Lena Olin, her must see film is THE UNBEARABLE LIGHTNESS OF BEING, 1988). Supporting work comes from Anthony Head as dead-by-design artist Julian Marx, and Thomas Kretschmann (KING KONG, 2005) as Arnold, the head of the company.
Every step of the story is predictable, and no apologies are necessary since this is precisely what fans of Hallmark Movies can't get enough of. Ms. Mendes flashes the charm required for the role, and she's surrounded by some other very talented folks. For those who prefer a bit more depth to characters and storylines, you likely already know this one's not made for you. But for those who find pleasantry in the safe path with no surprise twists ... a journey where the lovely liars get all the breaks since their heart is in the right place ... this one's for you.
Opens on February 9, 2024 on Prime Video.
Perfect Days (2023)
alone vs lonely vs awakened
Greetings again from the darkness. For most folks, life is a constant battle each and every day as we attempt to avoid the chaos stemming from work, health, friends, family, and overall stress. Sometimes we kid ourselves into thinking we have things under control, but inevitably, a sharp reminder pops up letting us know "control" is a mirage, and life is meant to be more rollercoaster than smooth sailing. Longtime writer-director Wim Wenders and co-writer Takuma Takasaki have teamed up for this Oscar nominated film depicting one man's attempt to control his life.
Veteran actor Koji Yakusho stars as Hirayama. He's the proverbial creature of habit, which the first 45 minutes of the movie prove. We see him rise from sleep in his simple, well-organized apartment. He spritzes his plants, smiles at the sky, and drives his van to his job as a sanitation worker in the city. The logo on his jumpsuit is The Tokyo Toilet and we follow him on his rounds as he scrubs the public toilets ... each structure more artistic than the last. When he pauses for rest, Hirayama takes photos of trees with his camera. Taking pride in his work, this man of few words, has found serenity in his routine which includes nighttime reading (Faulkner, Koda, and even Patricia Highsmith). While driving his van, Hirayama utilizes his carefully selected collection of cassette tapes to provide the classic rock he loves (The Kinks, Lou Reed, etc).
Generational and personality differences are apparent when contrasting Hirayama and his young assistant Takashi (Tokio Emoto). As the elder works towards a job well done, Takashi plays on his phone, flirts with a girl, a strives only for a job done so that he can move on to the more enjoyable evenings. The two are not friends, but the elder does seem to understand the desires and anxiousness of the younger man. At night, Hirayama does his reading and then dreams ... visions we see in black and white, many which seem to relate to nature's beauty of the trees he photographs each day.
When one is so meticulous about the steps for each day, it takes little to shake his world. It could be the actions of his co-worker, a kiss on the cheek, a recurring homeless man in the park, and certainly, the arrival of his teenage niece after she runs away from home. When his sister arrives to take the girl back, we sense the strain in their relationship - something from the past that still lingers. It's these minor blips, along with an odd game of 'shadow tag' that shake Hirayama's routine and open him (back) up to life's ups and downs. At first, we believe Wenders is showing us the difference between alone and lonely, as this man seems quite content. But the final shot is of Hirayama's awakening and acceptance, or at least acknowledgment, of the emotions to be found in uncertainty. It's a wonderful film, beautifully directed, and expertly acted. "Perfect Day" by Lou Reed and "Feeling Good" by Nina Simone are two of the standout songs featured here.
In theaters beginning February 7, 2024.
The End We Start From (2023)
Comer continues her ascension
Greetings again from the darkness. In light of the recent torrential storms in California, and other environmental occurrences, this film based on Megan Hunter's 2017 novel proves quite timely. Mahalio Belo directs the screenplay adapted by Alice Birch (LADY MACBETH, 2016), and we witness just how quickly things can change ... and perhaps equally important, we witness how people change in desperate times.
The remarkable Jodie Comer ("Killing Eve", THE LAST DUEL) stars, and early on she's pregnant in a bathtub as flash flooding hits the area of London where she lives. The heavy rain blends into childbirth with visual excellence from director Belo, cinematographer Suzie Lavelle, and editor Arttu Salmi. Fortunately, this does not turn into one of those heavy-CGI apocalyptic films, and instead stays grounded, and thanks to Comer's superb talent, becomes a story focused on the strength inspired by motherhood. It's a very human story derived from an environmental catastrophe.
Flooding reaches such proportions that the new mother and her husband (Joel Fry, YESTERDAY, 2019) are forced to pack up their newborn and evacuate their home, seeking refuge at his parents' (Mark Strong, Nina Sosanya) country home. When tragedy strikes, mother and baby are isolated, and the film shifts into a road movie of survival. The mother faces many challenges along the way, and the decisions aren't always easy, but certainly her commitment to keeping her baby safe cannot be questioned. Along the way, she crosses paths with another new mom (the always terrific Katherine Waterston), who makes a good travel companion, and a loner played by Benedict Cumberbatch who provides the women with a much needed serving of food and momentary distraction.
Mostly what we see is how people react to traumatic situations when desperation takes over. Law and order gives way to human needs and selfishness. Understandably, these reactions take on varying tones and looks ... sometimes it's looters at the shelter, while other times it's an island community isolated from collapsing society and working together to begin anew. Viewers will experience vicarious anxiety as Comer's mother and child trudge on, yet again, it must be noted that little here seems over-the-top. In fact, the only scene that fits that is a stunning waterfall shot seemingly included only for its visual beauty. The storms may have caused a power outage, but the real power shown here is the protective nature of a determined mother (and of course, Ms. Comer's performance).
Available to buy or rent on digital beginning February 6, 2024.
L'Incidente (2023)
riding along
Slamdance FF 2024
Greetings again from the darkness. How do we react when it seems the world is conspiring against us? Do we seize the opportunity to cheat the system if it means gaining an advantage that has eluded us? Does it matter if we are a kind and gentle person just trying to stay afloat? Italian filmmaker Giuseppe Garau delivers a film that offers one set of answers, while asking other questions, and reminding us that there is always a price to pay when our decisions skirt the bounds of ethics.
Marcella (a wonderful Giulia Mazzarino) is a stressed-out woman. Separated from her husband, the demands on her time cause her to be late picking up her daughter and ultimately losing her job. She possesses what we used to call a doormat personality - one who just seems to get walked on and taken advantage of at every turn. In hopes of digging herself out of a hole, Marcella goes into debt to purchase a used tow truck. Unprepared for the backlash from fellow "rescuers", things turn ugly as her truck is vandalized and she is assaulted. Her claim that Italy is a "civilized country" clearly doesn't apply to all citizens.
Mr. Garau's unconventional storytelling is accompanied by an even more unconventional shooting style. Much (probably three-fourths) of the movie is shot inside the truck cab with the lens aimed at Marcella's profile. We as viewers are literally riding shotgun on her daily adventures. We have such empathy for kind Marcella ... right up until the tone changes. An opportunity pops up and she can't resist, despite knowing this crosses a line of morality that she would have never previously dreamt of crossing. Does this decision prove her mettle, or does it cast her in a true light? We want people to be inherently good, and when they prove they aren't, we can't help but be disappointed. However, in Marcella's situation, we (and she) can't help but wonder if these actions are forgivable ... until the moment we (and she) know they aren't. It's a terrific thought-provoking film with one of the best final lines you could ever ask for. The film won the Narrative Feature Grand Prize at Slamdance 2024.
Darla in Space (2024)
"O" my!
Slamdance FF 2024
Greetings again from the darkness. Original with a big "O" (wink-wink, nudge-nudge), this zany film from co-writers and co-directors Eric Laplante and Susie Moon is offbeat and humorous while making a statement about money and ethics. It also manages to make orgasms as unsexy as possible.
Darla (Alex E Harris, director Laplante's wife) is on her 18th business. This serial entrepreneur has cut a commercial for her Kitty Kasket, an artsy, customized product for the remains of deceased pet cats. We see the commercial and it's as cringeworthy as you would imagine. A trip to the CPA reveals Darla owes a tax lien of a staggering (and unusual) $349,002 thanks to the selfish actions of her overbearing and irresponsible mother (Constance Shulman).
In a most head-scratching turn of events, while mopping in the required figure 8 motion, Darla stumbles on a 'sentient orgasm-granting kombucha scoby' named Mother (voiced by JS Oliver) that's been hidden in a warehouse container. Picture a huge flapjack or pancake and then visualize Darla covering up with it and being treated to a Timothy Leary-inspired orgasm. Darla and Mother cut a deal so that Mother will help Darla raise the money to pay off the tax lien, while Darla will assist Mother fulfill the inexplicable dream of going to space.
Of course, we recognize Mother's speech pattern as a nod to HAL9000 of Kubrick's classic 2001: A SPACE ODYSSEY, but that's about all we recognize here. Another character, Dr Brittney St Clair (Jenn Lyon) seems to always be on TV and is Darla's inspiration, along with the "Yeah, OK" book. For those of us who respect creativity and risk-taking, filmmakers Laplante and Moon deliver a whopper.
Invisible Nation (2023)
a nation of hope
Slamdance FF 2024
Greetings again from the darkness. The festival's closing night film selection was this penetrative documentary by Vanessa Hope (granddaughter of producer Walter Wanger and classic film actress Joan Bennett). Given the state of global geopolitics at the moment, this inside glimpse of Taiwan through the eyes of its first female President, Tsai Ing-wen couldn't be more timely.
It's tough to decide which is more heartbreaking: watching high school students proclaim their identity through a Taiwan they view as an independent nation, or China President Xi Jinping stating, "Taiwan is China", and that reunification is inevitable. Taiwan has been a democracy for decades, but it's also a de facto country, one that isn't even allowed to use their own name at the Olympics (Chinese Taipei).
We immediately gain respect for President Tsai Ing-wen as an exceptionally smart and wise and tough leader. On a daily basis, she deals with suppression from China, and has to walk a fine diplomatic line between supporters and detractors. We learn a bit more about The Sunflower Movement, a student-led rebellion and what role that has played in recent history. Unfortunately, this well-made and informative documentary reinforces the dread we feel towards the future of Taiwan as an independent nation.
Brando with a Glass Eye (2024)
a method to the acting
Slamdance FF 2024
Greetings again from the darkness. This story from writer-director Antonis Tsonis is based in Greece, where we find two brothers in dire need of funds. Luca (Yiannis Niarros) is a talented actor who has just received notice that he has been accepted into a prestigious method acting program based in New York City. He needs money for the trip, the tuition, and living expenses. Alekos (Kostas Nikoulis) has a dream of starting his own business. The two come up with the not-so-brilliant idea of a heist to secure the necessary funds.
Predictably, the heist goes bad for these two (previously) non-criminals, and in the ruckus, an innocent bystander gets shot in the stomach. The brothers manage to get away without being caught or identified. Already burdened with the guilt of his mother's passing, Luca tracks down the gunshot victim, Ilias (Alexandros Chrysanthopoulos) and visits him at the hospital. These visits are a bit funny and quite uncomfortable - making them intriguing to watch. Soon, Luca and the well-to-do Ilias have formed a strange bond of unexpected friendship.
One of the entertaining pieces here is the Luca is always playing a role. Famed method actor Dustin Hoffman is referenced a few times via MARATHON MAN and DOG DAY AFTERNOON, as is the titular Marlin Brando (thankfully no scenes with butter). Luca's acting exercises make for good entertainment, as both Nikoulis and Chrysanthopoulos are excellent in their roles. We are told that theater is about giving everything to art, and Tsonis has done that with his first feature-length film.
Junction (2024)
from 3 perspectives
Greetings again from the darkness. Actor Bryan Greenberg's (PRIME, 2005) first feature film as writer-director could have been subtitled, "those who suffer vs those who profit." Most of us can agree that businesses providing a desired product or service are entitled (not guaranteed) to turn a profit. And on a seemingly unrelated note, most of us can agree that those suffering from addiction deserve and need assistance in breaking the cycle that is destroying their life. The road where these two intersect is when drug companies produce an effective yet addictive product that is prescribed by doctors. The issue arises when profits soar due to the spread of addiction.
The story focuses on the Opioid crisis, and evidently, it's a topic that filmmaker Greenberg feels strongly about. He serves up three perspectives so that we better grasp the full reach. Greenberg himself plays Michael, a restaurant owner in desperate need of a refill on his Oxycodone prescription. Ashley Madekwe ("Revenge") plays Mary, a doctor whose practice has grown due to her willingness to write these prescriptions. Griffin Dunne (AFTER HOURS, 1985) and Ryan Eggold ("The Blacklist") play CEO father Lawrence and ambitious son Jacob, who run one of the drug companies producing and marketing Oxy.
The three-tiered approach works as we see Michael, divorced from Allison (Sophia Bush), is no longer attentive to his work or family, Mary has good intentions but carries the guilt of the drug's effect on her patients, and the heads of the drug company are facing an FDA hearing to determine their level of guilt and damages. It's a bad day for everyone. Perhaps Greenberg over-complicated the story unnecessarily with some additions like Mary's afternoon delight with the drug rep, Jacob's planned corporate coup over his dear old dad, and Michael's, umm, digestive issues at his son's basketball game. Of course, all of these elements are meant to show the progression of cause and effect when it comes to addictive drugs. One subplot that I couldn't make work was that of the doctor having financial troubles with patients lined up for the next prescription. It makes sense that she wants to escape the oxy world, but with her practice booming, why the financial woes?
Familiar faces appear throughout, and include Dash Mihok ("Ray Donovan"), Jamie Chung ("The Gifted", married to Greenberg), Josh Peck (THE WACKNESS), Yara Martinez ("True Detective"), Michaela Conlin ("Bones"), Hill Harper ("CSI:NY"), and Dascha Polanco ("Orange is the New Black"). The cycle of addictive drugs presents itself as causing money issues, trust issues, personal and marital issues, health issues from addiction, kids that can't count on parents, and political ramifications that lead to corruption. While it has the look and feel of one to stream, the film's message is quite clear and powerful.
The film will be in theaters and on demand on January 26, 2024.