Author: Jim Batts

Jim Batts was a contestant on the movie edition of TV's "Who Wants to be a Millionaire" in 2009 and has been a member of the St. Louis Film Critics organization since 2013.

ALL I SEE IS YOU – Review

 

For over ninety years cinema has been catering to and exerting two of the five senses. Well mainly, since gimmicks like “Smell-O-Vision” and “Odorama”, used with the films SCENT OF A MYSTERY and POLYESTER, never really connected with the film going public. They were cards that emitted aromas when a number was scratched (after prompting by seeing the number flash on-screen). I’m guessing certain fragrances didn’t mix well with concession treats. Well before that, THE JAZZ SINGER introduced movie audiences to sound, allowing them to hear actors reciting lines rather than reading “title cards’ (along with sound effects and music). Now, instead of those cards, subtitles are run at the frame’s lower part for most foreign films (the subtitles help the “hearing impaired” watching films on home video). But how do film makers simulate the “point of view” of those “impaired’ or “challenged”? The wizards of sound mixing can manipulate the audio, sometimes turning down dialogue in the foreground as they “amp up” street noises in the background, and fading out the sound altogether (as in the recent DUNKIRK). Similar techniques can be used to show the visual senses failing, with shifting focus and fuzzy lighting. And it can keep the hero and heroine in near constant jeopardy, as the film makers attempt in the “would-be” thriller ALL I SEE IS YOU.

 

At the story’s start we are bombarded by images inside the mind of Gina (Blake Lively) while she’s making love to her hubby James (Jason Clarke). We soon learn that she is blind, the result of an auto accident as a teen. This accounts for the flash images of her family in a car, the sides of a tunnel, and a rapidly approaching truck, followed by flashing bits of glass and metal. Gina and her sister survived while their folks perished. James’s job has taken them to Thailand. While he works, Gina helps the neighbors (she gives guitar lessons to the pre-teen girl down the hall) and swims laps in the public pool along with her pal Karen. Aside from regaining her sight, Gina really hopes to start a family with James. There’s good news on the former front as a sight expert, Dr. Hughes (Danny Huston) tells the duo that he can restore sight in the right eye, once a cornea donor becomes available. An evening celebrating in a dance club turns tense when the couple is temporarily separated. Luckily the happy call from Hughes comes, Gina goes in for the operation, and she can see once more (she had never viewed her hubby’s face). Images are still a tad fuzzy, so Hughes prescribes a strict regimen of daily eye drops. James surprises Gina with train tickets for a return trip to their honeymoon locale of Barcelona, followed by a visit to her sister in a nearby village. Though happy, things don’t go quite right on the trip, especially when they try to “spice things up” in the sleeper car. Thankfully, Gina has a great reunion with her sister Carla (Ahna O’Reilly) and meets her brother-in-law Ramon (Miquel Fernandez) and little nephew Luca. A night on the town turns ugly (frisky locals), but a visit to the accident site helps the sisters heal. Returning to Thailand, the couple continue to be frustrated as the attempt to conceive, Then the unthinkable. Gina’s eye turns a harsh red as she begins to lose clarity in her vision. But she’s taking her drops as instructed. Did something go wrong in the operation or is someone trying to sabotage the healing process?

 

 

Perhaps in an effort to duplicate the surprise box office success of last Summer’s THE SHALLOWS, Lively is yet another damsel in distress, without the ticking clock element of a rising tide and hungry shark. She does display a real vulnerability in the early sequences as the camera mimics her gaze (like peering through a fish bowl full of chunky clam chowder) while not showing us the source of sudden loud noises. Unfortunately her Gina is far too guarded, hesitant to relate her feelings, which at times makes her a frustrating heroine. There’s an aloof air that distances her from much of the action as though she’s floating through the story. Clarke’s James is much more straightforward, every bit of unease etched in his darting eyes. His devotion to Gina often verges on the obsessive as he verbally strikes out when things don’t go as planned (especially in their “50 shades” fantasy). His motivations are murky which makes his scenes with Lively off-kilter. O’Reilly is a warm support system as the sister who shares a common trauma, while Fernandez as her hot-blooded hubby is a “wild card” whose attempts at comedy are ill-timed (why does he douse himself in blood-red paint before a bull statue before slipping on a chain-mail dress). Though he’s only in a couple of scenes, the dependable Huston exudes the proper gravitas as the stern but concerned doc.

 

Unfortunately the film is just as hazy and unfocused as Gina’s right eye. Director Marc Foster (MONSTER’S BALL) lets the story drift aimlessly and only lets a sense of urgency kick in during the last act. Far too much time is spent in the POV shots and the manic memory flashes scattered with little purpose over the long running time ( a twenty-minute trim might’ve helped…a bit). The couple at the story’s centered aren’t compelling enough for us to be invested in their squabbles and pettiness. And why the foreign locales? It adds a bit to Gina’s disorientation in the opening (she struggles with a language-learning app), but it seems an excuse for a “working vacay” for cast and crew. Thailand’s never another character. It’s just another problem with the script by Foster, along with Sean Conway, which is a meandering, pretentious mess (lots of floating shots of Lively…huh?). Film goers will struggle mightily to keep their eyes open (and mind engaged) with ALL I SEE IS YOU.

 

1/2 Out of 5

 

GOODBYE CHRISTOPHER ROBIN – Review

 

And once more we dive into the overflowing sea of films “inspired by true events”, though it has a touch of the “biopic”. Much as with the recent Mark Felt and Thurgood Marshall movies, it doesn’t offer a “cradle to grave” overview of the person’s life. But it certainly covers a bigger “chunk” than those flicks, going from the first World War to the second. Plus, it can considered an “origin” story of a favorite popular culture icon as with last weekend’s PROFESSOR MARSTON AND THE WONDER WOMEN (still miffed that it wasn’t shown to the press), and like the princess, one that’s still very favored by the younger set, starring in a still steady stream of feature films (though most go straight to home video). This is the saga of author A.A. Milne whose son inspired him to write the tale of Winnie the Pooh and his pals in the Hundred Acre Woods. Yes the “silly old bear” had a real life human friend, as we learn in GOODBYE CHRISTOPHER ROBIN.

 

The story begins far from those benign woods, as one of Britain’s most celebrated authors, A.A. Milne (Dominhall Gleeson) witnesses the all too real horrors on the bloody battlefields of WWI. At war’s end he returns to England and re-unites with his gorgeous socialite wife Daphne (Margot Robbie). Though he’s done with the war, it’s not done with him as he experiences a form of PTSD, going into panic mode when surprised by a loud noise (a balloon pop, etc.). London seems to be squelching his creativity, so Daphne suggests they move to the country (a change of scenery should produce lots of poems and plays). They settle into Cotchford Farm in Hartfield, East Sussex, far from the noisy city and right next to a lovely wooded area. Milne, “Blue” to his wife and friends, is more interested in fixing chicken coops than writing. Soon Daphne gives birth to a child, Christopher Robin, though they call him “Billie Moon”. After she hires a young nanny named Olive (Kelly Macdonald), a frustrated Daphne declares that she will go to London to shop for wallpaper and will not return until Blue starts writing once more. Billie, now eight (Will Tilston) becomes Blue’s main focus. Watching his son play with his stuffed animal toys in the forest fires up his creativity. When his old collaborator, artist Ernest Shephard (Stephen Campbell Moore) visits the farm, they try to bring Billie’s flights of fancy to  illustrated life. The result is the literary debut of Winnie the Pooh, a smash hit. Upon Daphne’s return, they are swamped with fan mail as the press swarm about their little lad. But will this sudden success and fame destroy the family and damage the boy?

 

 

The role of the troubled Milne provides a terrific showcase for the talented Gleeson. We see the horrors of battle through his listless, haunted eyes which slowly spark back to life through the delight of fatherhood. Gleeson has that upper-crust rigid demeanor down pat as Blue begins to let his guard down to dive into that magical forest. But the most complex role may be that of his wife Daphne. She’s at times a dithering party girl, then a tough task master to her hubby (a demanding muse), Robbie treads a delicate balance between being unwittingly insensitive and unashamedly cruel. She takes a risk with this often unlikable character and it truly pays off. Bravo to her bravery. The most sympathetic performance is that of Macdonald as the truly caring care-giver whose only motivation is protecting her dear charge. And what a find Tilston is as the title character. With a shiny Jackie Coogan page-boy do’ and devastatingly deep dimples (Shirley Temple doesn’t hold a candle to those “dents”), his eyes sparkle with wonder, then he breaks our hearts as he yearns for affection from his papa. It’s a rare child performance that’s sweet, but never cloying. His C.R. is the precious boy of any parent’s dreams.

 

Director Simon Curtis (THE WOMAN IN GOLD) has crafted a touching true tale that is much tougher than expected. Certainly the forest strolls are magical, evoking those timeless stories. But success doesn’t make life more pleasant. Though set 90 years ago, the Milnes’ saga offers a timely commentary on the pitfalls of fame. Billie was a real “rock star” as his parents allowed and encouraged the frenzy that ate away at his childhood, even as Olive tried to shield him ( a zoo photo shoot seems unbelievable until we see the actual photo during the end credits). The art director recreates the twenties with visual splendor as the cinematographer bathes everything in a nostalgic golden glow. And unlike many films about writers, we see how life unlocks ideas rather than enduring  long shots of putting pen to blank paper. GOODBYE CHRISTOPHER ROBIN is a splendid ‘behind the pages” look at a world that continues to entrance and delight children and adults. It’s as tasty as a dollop of fresh honey.

4 Out of 5

 

ONLY THE BRAVE (2017) – Review

Here’s yet another “inspired by true events” film , just in time for the somber Fall season. Somber, the right word for this one. Unlike this weekend’s other non-fiction flicks, it’s set in the not too distant past, not decades ago, but in this decade, the 2010’s. It concerns a group of men who regularly risk their lives, and often make the ultimate sacrifice, in order to protect their fellow men. And it shines a light on the families that must stay behind and hope that all goes well. You may be thinking that’s it’s another those on the front line, our soldiers overseas sagas as in the films THE HURT LOCKER and AMERICAN SNIPER. Well, these heroes aren’t on foreign soil, though they are on the front line, one made of flame. And with their special clothing and gear ,they could be mistaken for soldiers. Rather they are firefighters, but they aren’t roaring down the street on a fire truck, dalmatian in tow, ready to climb the ladder to a “towering inferno”. These guys fight the fires that consume forests, hoping to stop their journey before the flames reach the towns and cities. Such is the mission of the Granite Mountain Hotshots from the Prescott Arizona Fire Department. ONLY THE BRAVE fill their ranks.

 

Nearly ten years ago, Eric Marsh (Josh Brolin) bolts upright in bed after a nightmare. It’s the usual scenario that involves a charging bear on fire, an “ursine torch”. For his wife, horse trainer Amanda (Jennifer Connelly), this is fairly common. He then leaves for work as the captain to a squad of firefighters, a hand crew that goes into to stop wildfires, who report to the Fire Chief Duane Steinbrink (Jeff Bridges). They do the “grunt ” work and the prep for nearby towns. But Marsh wants his crew to become officially accredited by the state of Arizona, to become “hotshots”. But he needs to beef up their ranks, so he begins interviews and try outs. One hopeful is Brendan McDononugh (Miles Teller), a directionless twenty-something who retreated to the bottle and the bong after flunking out of some training courses. He’s just found out that a former fling is pregnant with his child, which spurs him to get his “act” together. After surviving an arduous hike, Marsh decides to take a chance on Brendan. As the months past, he rises to the challenge and even bonds with a former tormentor, Christopher (Taylor Kitsch). Eventually the team earns their accreditation, and Eric dubs them the Granite Mountain Hotshots. They become a proficient, well-oiled machine, starting controlled fires to stop the approaching flames while digging trenches to contain the spread. This leads up to a fateful day in June of 2013 when the Hotshots are called in to stop a lightning fire at Yarnell Hill. This routine assignment soon becomes a desperate fight for survival.

 

 

With his squinty gaze and stern growl, Brolin is a leader of men in the Clint Eastwood/ Kurt Russell mold (almost a brother to Kurt’s DEEPWATER HORIZON role). He’s tough, but he’s got a soft spot for lost causes, which would aptly describe Teller’s Brendan when we first meet him. Much like his roles in WHIPLASH and BLEED FOR THIS, Teller’s Brendan is another fella’ full of determination, though here we see a bit of his tender side as he tries to be a good father to his unexpected arrival. And there’s quite a father/son bond between his character and Marsh (we never see Brendan’s pop, only his ma’). The mother to all the crew may be Connelly’s Amanda who goes toe-to-toe with Eric while fighting despair as he trudges off in his gear, perhaps never to return. I suppose this would make Bridges the grandfather-figure, full of support and encouragement, trying to calm Eric’s frustrations. And Bridges gets to indulge in the drawling, “chaw-filled”, jaw-jutting delivery that we’ve seen many, many times ( TRUE GRIT, HELL OR HIGH WATER, R.I.P.D). His anchor at home is the criminally underused Andie MacDowell, so fiesty and funny (and sexy) in MAGIC MIKE XXL, but here regulated to comforting Connelly and being a sounding board for Bridges. Among the assorted fire house “beefcake”, James Badge Dale is a most able second-in command, while Kitsch as plenty a good ole’ boy charisma as the “heart of gold” Christopher.

 

The fire fighting profession hasn’t been exploited often by the movies, despite the compelling cinematic nature of the raging flames, here a destructive charging beast. Of course, film buffs will harken back to Ron Howard’s BACKDRAFT (though there’s no arson mystery here) or that all-star disaster epic that was producer Irwin Allen’s THE TOWERING INFERNO. But the whole Eric/Brendan theme reminded me of the near 50 year-old HELLFIGHTERS with John Wayne (yeah, the Duke) working with the cocky Jim Hutton. So why isn’t this flick as exciting as those earlier entries? Perhaps it’s because director Joseph Kosinski (OBLIVION) keeps hammering in the symbolism of that burning bear (three times). Or maybe it’s because the script by Ken Nolan and Eric Warren Singer (based on the GQ magazine article by Sean Flynn) spends far too much time on domestic drama and not enough on the fiery fields. They even resort to some clunky “two men and a baby” hijinks at one point. Plus the big verbal throw-down between Eric and Amanda doesn’t ring true (angry because he’s not starting a family with her) and feels more than a tad sexist. This leaves only about 20 minutes of the 133 minute running time for actually fighting fires. The story of the “screw-up” who redeems himself to the guys has been a cliché in war flicks for years (I almost expected one of the crew to be nicknamed “Brooklyn”). The men portrayed are real heroes, true lifesavers who deserved a better celebration and tribute than this lackluster and tedious tale. ONLY THE BRAVE just has little spark.

 

2 Out of 5

 

MARK FELT: THE MAN WHO BROUGHT DOWN THE WHITE HOUSE – Review

 

As we reach that light-at-the-end-of the-tunnel that concludes the 2017 movie year, theatres are now filled with stories “inspired by true events” and “biopics”. This new release is a bit of both, like last weekend’s MARSHALL, this tells the story of one man, while focusing on one major event or incident of his long life. Unlike the former Supreme Court justice, this person was not well known by the general public. However, his “nickname” became legendary, thanks in part to a Best Picture Oscar winner. Though the film’s title may sound seem like hyperbole, it presents much evidence to support it in MARK FELT: THE MAN WHO BROUGHT DOWN THE WHITE HOUSE.

 

We first meet mark Felt (Liam Neeson) on a crisp May morning in 1972 as he readies himself for another day in DC as Deputy Associate Director of the FBI (the number three guy at the Bureau). After kissing his wife Audrey (Diane Lane) goodbye, he is driven to the White House for a meeting with three of President Nixon’s top aides, the three Johns, Mitchell, Ehrlichman, and Dean (Michael C. Hall). With the elections only a few months away, they pressure Felt to “crack down” on the counter-culture groups. Felt reminds them that the FBI doesn’t take its orders from the oval office. Days later, the nation is stunned by the death of the bureau’s founder, J. Edgar Hoover. It’s assumed that Felt will take over as acting director until the president appoints L. Patrick Gray (Martin Csokas) to the position. While his wife, friends, and colleagues are shocked, Felt tries to work smoothly with his new boss. The next month, the Watergate Hotel break-in occurs. As Felt oversees an investigation into the burglary, he is pressured by Gray to “wrap it up” quickly. When Felt learns of the burglars connections to Nixon aides like E. Howard Hunt. he believes that Gray is acting on orders from the White House, a violation of the founding principles of the FBI. In order to get the truth out, Felt passes files on to Time magazine reporter Sandy Smith (Bruce Greenwood) at an out-of-the-way diner. Later, after hearing of the Washington Post’s articles, he meets with reporter Bob Woodward (Julian Morris) after hours at a desolate parking garage. Woodward will refer to his source only as “Deep Throat”. Gray and his advisors now have a new mission: find the “leak”. Felt must constantly watch his back as Washington and the nation is thrown into turmoil. How long can his involvement remain a secret?

 

 

In the title role, Neeson combines the gravitas of Aslan, Zeus, and Qui-Gon Jinn with a touch of the menace of Bryan Mills from the TAKEN series along with the a hint of the weary sadness of Oskar Schindler. With his silver pompadour Felt is a regal mature lion with little tolerance for the petty fools that surround him. This deflects the inquiring questions that jab him as the “mole hunt” begins. Neeson has an easy chemistry with Lane, who is regulated to the cliché “woman on the phone” far too often. While Felt seems unable to vent, she lets out her rage and frustration that their sacrifices appear to have meant nothing to those choosing a new FBI chief. The diner exchanges also crackle thanks to the superb delivery of Greenwood as the prodding, probing reporter. Tony Goldwyn and Josh Lucas also shine as Felt’s Bureau BFFs who respect and trust him above all others. And kudos to the producers for thinking “outside the box” by casting the talented comic actor/writer Ike Barinholtz (SNATCHED, SISTERS) as the cynical, suspicious filed agent, Angelo Lano. Plus Csokas makes a terrific “arch-enemy” as the devious , plotting Gray with Hall’s Dean a conniving cohort. Oh, and welcome back to Tom Sizemore as the seedy, “not afraid to get his hands dirty” agent Bill Sullivan whose withering stare speaks volumes.

 

With a cast like this, the film should be a riveting historical/ political thriller. Yes it should, but the pedestrian direction from Peter Landesman (who also adapted the books by Felt and John D. O’Connor) never allows the story to break out and really breathe. This flick moves at a snail’s pace, with little sense of urgency as new characters are introduced with bits of clumsy dialogue (“Well, Mark Felt and Bill Sullivan, together again”). Since it covers the same events, this film can’t help but suffer in comparison to the iconic journalism thriller ALL THE PRESIDENT’S MEN (that Oscar winner still retains its power). The vintage fashions and hair styles of this new flick look authentic, but the muted, dark cinematography give the movie a cold, dingy feel. The addition of a side story of Felt trying to locate his daughter Joan, who seems to have been swallowed up by the “hippie” movement feels wedged in as a way to give the principals more humanity. It only serves to slow the pace even more (I was reminded of the love story forced into THE CAINE MUTINY). Unlike the 1976  Redford/Hoffman classic (wonder it it’s streaming), MARK FELT: THE MAN WHO BROUGHT DOWN THE WHITE HOUSE feels like a dusty museum piece, hastily erected just before the gift shop exit.

 

2 Out of 5

 

MARSHALL – Review

 

With the movie awards season in full gallop, this week sees the release of a perennial favorite of Academy members: the big screen biography. Now this is a special type of “biopic” in that it doesn’t focus on the entire life (or many years of the life) of the subject, as with films like RAY or THE AVIATOR. Really this new work zeroes in on a year or so of this great person’s career, much as Steven Spielberg’s LINCOLN concerned the last few months of the ole’ rail-splitter. Actually this may be closer to John Ford’s terrific YOUNG MR. LINCOLN as it concentrates on a very early case, long before his great fame. And, in a way, this could be considered an “origin” story, much like the initial entries of movie hero franchises (or the first issues of comic book heroes). Yes, this man’s a hero alright (and he’s portrayed by one of the newer additions to the Marvel movie roster). Decades before he donned the judicial robes, movie goers can now see a trial from the early career of Thurgood MARSHALL.

 

In the early 1940’s, with minorities in need of competent law council, the NAACP (the National Association for the Advancement of Colored People) only had one attorney they could send out to provide free legal defense, thirty-something Thurgood Marshall (Chadwick Boseman).  As we meet him, he boards a train just before some local thugs “congratulate” him on another victory. His NYC reunion with pregnant wife Buster (Keesha Sharp) is cut short when his boss, Walter White (Roger Guenveur Smith) assigns him another case, this time in Connecticut. An itinerant black chauffeur named Joseph Spell (Sterling K. Brown) has been arrested for the rape and attempted murder of his employer, society matron Eleanor Strubing (Kate Hudson). With Spell’s life on the line and the town out for blood (the local paper runs a front page editorial cartoon with him as a snarling gorilla), Marshall rushes in. But he will have to work with a local attorney. Sam Friedman (Josh Gad), who has spent nearly all of his time defending businesses, is assigned the case by his firm. But Sam’s not confident working a criminal case, or about teaming up with Marshall. But after speaking with Spell, Marshall is sure of his innocence (the NAACP will only offer free council to the innocent), and the long process begins. Their defense hits a snag when Judge Foster (James Cromwell), angered by an out of state attorney, bans Marshall from speaking in court. Friedman will have to do all the talking. As the men work together they form a bond of mutual respect, but their research reveals many more deceptions and secrets. As the town’s atmosphere becomes more hostile, can they make certain that Spell receives a fair trial?

 

 

With his fedora always cocked at a jaunty angle Boseman is pure “swagger” in the title role, earning him an acting “hat trick’ as his third icon (after Jackie Robinson in 42 and James Brown in GET ON UP). Even without speaking in the courtroom, he’s still a commanding charismatic presence. Eloquent, but also a man of action when the bigots start circling. Though confident in his physical abilities, we can see his eyes dart about, looking for an escape route when the odds are overwhelming, calling more on his brain than brawn. Plus he’s a terrific partner/ coach to Gad’s Sam. When last we saw him, Gad was camping it up as a fun but fussy (more cartoony than the 91′ original) LeFou in BEAUTY AND THE BEAST. Here he’s subtle, drawing us in to the conflicted lawyer. We see his disgust at defending, and winning for, the big companies over the abused poor locals. When this big criminal case falls into his lap, Gad alternates between sweaty panic (Spell’s life is literally in his hands) and annoyance at Marshall. He shows us how a “bromance” blooms as the two become true co-workers through the trial. Also going the subtle route is Hudson, who finally escapes the bounds of “rom-com” purgatory to make Strubing a sympathetic character despite of her accusations. She’s trapped by 40’s society’s conventions, though not nearly as much as the man she testifies against. Brown conveys all the moral complexities and contradictions as the proud, but fearful Spell. Marshall and Friedman must make him hope once more. Cromwell’s masterful as the iron-willed judge, And kudos to Gad’s recent co-star Dan Stevens (the Beast himself) as a most sneaky and smart, very formidable prosecutor.

 

In his first feature film in nearly 15 years (lotsa’ TV) Reginald Hudlin (HOUSE PARTY, BOOMERANG) guides the story from historical drama to courtroom thriller (a dash of TO KILL A MOCKINGBIRD mixed with a bit of Perry Mason) to, well, unlikely buddy comedy. Save for an odd sidetrip to a  NYC jazz club filled with some other icon celebs, the film races along at a steady clip, hitting just the right dramatic beats before its compelling conclusion. The period costumes and vintages autos look very convincing as does the East Coast location work. And, sure it’s a bit of a fan letter to the great man, but the superb cast never lets the zippy script from Jacob and Michael Koskoff seem mawkish or fawning. This is a great movie for school groups, both informational and highly entertaining. As far as “origin’ stories go, MARSHALL makes you wish for another “issue”. After all, he’s got to don his super suit…uh…judicial robes (well, it’s nearly a cape).

 

4 Out of 5

 

WOODSHOCK – Review

 

It’s travel time at the vacation wing of the ole’ multiplex yet again. A couple of months ago we explored France in PARIS CAN WAIT, and just a few weeks ago we joined Steve and Rob for a food-filled travelogue in THE TRIP TO SPAIN. Summer may be over, but it’s not too late to “get away from it all” with another trip….a trip inside your mind. If you’re thinking of “mother’s little helper” then you’re on the right track. Movies about drugs have changed with society over the years. The first flicks were hysterical (in more ways than one) cautionary tales epitomized by the camp classic REEFER MADNESS. With the counter culture’s rise in the 60’s and 70’s there were more enlightened films like, well Roger Corman’s THE TRIP. And in the 80’s Cheech and Chong finally took their weed humor to the big screen with UP IN SMOKE, which begat a new genre, the “dope comedy” with PINEAPPLE EXPRESS, HALF BAKED, and it’s “Citizen Kane”, THE BIG LEBOWSKI. Now that states are easing up on pot, many legalizing it, will there be a new “strain” of “chronic cinema”? Well here’s a unique mix, a thriller/marijuana whose title is a nod to a 60’s movie/event: WOODSHOCK. Oh, and you’d best hit the concession stand first.

 

Theresa (Kirsten Dunst) shares a rustic house with her husband Nick (Joe Cole). He works clearing trees in the massive wooded area just outside their little town. At the beginning of the story, they’re taking care of Theresa’s gravely ill mother, who’s occupying a bedroom. As the days drag on, Theresa tries to relieve Mom’s pain with marijuana. Before she rolls the joint, she mixes in a few drops of a liquid from a small amber-colored bottle. After a few tokes, mother drifts away into the embrace of death. This sends Theresa into a tailspin of grief, wearing mom’s old clothing, and weeping beside her empty bed. Nick is of little help, since he accepted a promotion and is putting in lots of extra hours. Finally Theresa decides to return to her old job at a state-sanctioned marijuana dispensary run by the gregarious Keith (Pilou Asbaek). One of the shops regulars is senior citizen Ed (Steph DuVall), who needs to ease his suffering from a lingering illness. One day Keith suggests that Theresa add a little “something special” to Ed’s prescription to “help him out”. She douses the buds and gives him the special supply. But both are stunned when Ed returns to the shop after word gets out about the death of another “regular”, college-age Johnny (Jack Kilmer). has she lost her mind? Did she deliberately switch their orders? And what about her midnight walks about the woods and her nocturnal fence building? Will a few joints laced with the liquid help her understand what happened?

 

 

After co-starring in last year’s unexpected box office smash HIDDEN FIGURES, Dunst is re-establishing herself as an “indie” film icon with this role (even more arty that THE BEGUILED remake from a few months ago). Her Theresa is the film’s main focus. Dunst conveys the all-consuming grief Theresa feels over the loss of her mother, and her own hand in it. It’s followed by numbed days, leading to extreme self-meditation. Dunst makes her an enigma (or perhaps a mystery wrapped in an enigma), a blonde ghost often literally floating through life (echoing her MELONCHOLIA role in many ways). She’s the opposite of Asbaek as the “party monster” Keith who seems to always be on the search for the newest thrill or high. His relationship with Theresa is complex. Were or are they lovers? We know they’re boss and employee, but something deeper is bubbling under the surface. There’s more passion between them than there is with Cole as the confused, clueless Nick. He wants to help his wife, but doesn’t have the skills or time to break through to her. DuVall is a hovering reminder of mortality, a guy wanting to go, but can’t get the exit door to work. Kilmer is almost a kid brother to Dunst, a warm fire snuffed out cruelly, though it’s never clear if it was by accident.

 

Nothing’s very clear about this film at all. Fashion documentaries Kate and Laura Mulleavy in their feature film making debut (script also) aim for atmosphere rather than coherence. the camera lingers on Dunst as she gazes into mirrors, an angel of death dispensing truly “killer weed”. Much time is spent on double-exposed images with flowers and butterflies suddenly dissolving into the background. Are they trying to make us feel as though we’re on some powerful stuff? Oh, and what’s with the fence building anyway? No clues are present nor hinted. The whole flick’s a hazy fever dream that never really lets us wake up. While the recent mother! flaunted its artistic intents, it had an energy to it, while this film glides along in a slow-motion haze. We never get attached to the characters (who mumble more than speak), which lessens the story’s impact and heightens the frustration at the stupefying conclusion (everything just stops instead of resolving). WOODSHOCK is one long pretentious trip. Bummer man.

 

1.5 Out of 5

 

WOODSHOCK opens everywhere and screens exclusively in the St. Louis area at Landmark’s Tivoli theatre.

 

 

KINGSMAN: THE GOLDEN CIRCLE – Review

 

Everything seems to be on track for cinema’s final months of the year. Sure, that demented clown ruled the box office for a couple of weeks, but Ben and Jake are here now with some real “Oscar bait” flicks that will usher in the season of serious film works. Hmm, not so fast. Looks like another comics-inspired franchise is blasting into the multiplex. Now, the JLA and Thor are still many weeks away, but this series is more Bond and Bourne than Marvel and DC. Oh, and it’s from graphic novel/ movie adapter veteran Matthew Vaughn. He injected most welcomed energy to the Marvel mutants with X-MEN: FIRST CLASS in 2011, just a year after spicing up that genre with the R-rated KICK-ASS. His follow-up in 2014 was the “origin/training” tale of a super-secret (“veddy veddy” hush-hush, you know) organization whose operatives are impeccably dressed, well-mannered gentlemen (think TV’s John Steed…squared) in the unexpected smash KINGSMAN: THE SECRET SERVICE. So, have they been at rest, polishing their shoes and pressing their suits in the last three years? The second in the series, KINGSMAN: THE GOLDEN CIRCLE, should answer that question.

 

On the streets of modern day London, Eggsy AKA Agent Galahad (Taron Egerton) is under attack by sinister forces lead by someone thought dead at the end of the last big mission, rejected agency recruit Charlie (Edward Holcroft). After escaping them, Eggsy meets up with tech-wiz Merlin (Mark Strong) under a lake (they’ve got lotsa’ underground hiding spots). Eggsy must dash away and escort his girlfriend, Princess (of Sweden, from the first flick) Tilde (Hanna Alstrom) to a birthday party for him thrown by his old “mates” from the neighborhood. But it turns out that old Charlie had a little something up his “bioniclly enhanced” sleeve. Just who is really behind this security breach? His boss, the world’s biggest drug kingpin, the master criminal genius known as Poppy (Julianne Moore). Hidden away at the top of a jungle mountain, in a village designed to look like a 1950’s neighborhood complete with a diner (she loved the nostalgia craze of the 70’s…GREASE, “Happy Days”, y’know), she unleashes deadly missiles that annihilate the Kingsman. Well, everybody but Eggsy and Merlin, luckily. They meet in a hidden room at a spirits shoppe, and open a safe containing a bottle of Kentucky bourbon. This sends them across the pond, hoping to track down their enemies. There the two men are approached by their US counterparts, the agency known as the “Statesmen”, headed by Champaign AKA “Champ” (Jeff Bridges). Merlin meets his American double (not quite), scientist Ginger (Halle Beery), while Eggsy is introduced to agents Tequila (Channing Tatum) and Whiskey (Pedro Pascal). Then Champ stuns his guests by revealing an old friend behind a one-way mirror: the supposedly deceased Harry Hart, the first Galahad (Colin Firth)! That’s just the first surprise as they join forces to thwart the deadly, devious Poppy.

 

 

Just as in the last installment, Egerton is an energetic action hero, evoking memories of Michael J. Fox in his late 80’s glory, not only in stature, but in confident attitude and charisma. Eggsy is at home hangin’ with her ‘buds or impressing royalty at a swanky. And he can literally charm the pants off a high-class “deb” who has vital intel (take that, Mr. Bond). He’s got a terrific rapport with Strong as the brainiac who can put him in his place with a quick retort. This time out, Firth is the one in need of training, since his…accident… has left him in a thick fog (butterflies appear at the worst times) and those razor-sharp reflexes are dulled (a call back to a fave scene from the first doesn’t go smoothly). The best addition and improvement is Moore’s twisted take on June Cleaver (yes, she wields a really sharp one) with the perennially peppy Poppy (just thought Samuel L Jackson was too goofy in the earlier flick). Her twinkly grin makes her demeanor near impossible to gauge giving her crimes an extra quirk. The US agents aren’t as interesting as their Brit brothers. Bridges reprises his guttural drawl , seeming more cattle baron than strategist. Berry is perky and assured, but is mostly a sounding board for Merlin as she pines to be out in the “field”. Pascal (I really thought he was Jeremy Renner when I saw the first teasers) has a good cowboy swagger as he echoes Indiana Jones with his glowing lasso and retractable bullwhip. Speaking of teasers, that sums up Tatum’s role here. Though he’s featured heavily in the marketing, his Tequila character is taken out of the story for nearly an hour, literally “on ice”. Of course, he’s great in the first encounter with Eggsy and Merlin, which gives the rest of the film a “bait and switch” vibe. But kudos to the always wonderful Bruce Greenwood for his comic turn as a funny doofus Prez.

 

Vaughn delivers the action goods and should satisfy the many fans of the first flick. The high-tech gadgets are inventive and fun, especially during the opening car chase (that’s something considering all the similar scenes in this year’s action movie crop). Poppy has a unique master plan that lobs a few laughs at current politics (the first one jabbed the other end of the political spectrum). And her hideout is not the standard “airplane hangar” supervillain lair (though it really resembled downtown Hill Valley from BACK TO THE FUTURE). Plus there’s another pop icon (Mark Hamill last time) that provides some nice comic bits. Unfortunately, at 140 minutes, the film feels bloated, losing some of the bouncy light spirit of the former flick. Many action set pieces go on for too long (most of the ski lift stuff) and border on tedious, with one ending trying to “top” the next. The script from Vaughn and Jane Goldman needed another pass or two to shake the “excess” off, or to tighten up some character relations (there’s little spark between Eggsy and Tilde). And the killer “robo-dogs” felt like something from a 90’s straight-to-video title. With KINGMAN: THE GOLDEN CIRCLE there’s plenty of “bang” (and “booms”) for your movie buck, but at the cost of much of the charm and wit of their introductory flick. Put the bowlers back in the hatbox till a better mission comes along

 

3 Out of 5

 

BRAD’S STATUS – Review

With awards season approaching it’s time to get serious at the multiplex, at least for some actors that may be best known for rowdy raunchy comedies. That may be the case for Ben Stiller who’s playing this flick’s title character. Mind you, there’s still some funny stuff in this story, we’re not in heavy, somber tragedy territory at all. It’s just that Ben is playing an “everyman”. a fellow that many of us know, or “down deep” the person staring back at us from the mirror. Oddly, this man is constantly reflecting on his past, his regrets, and choices. These concerns and worries make up the bulk of BRAD’S STATUS.

 

The title Brad is played by Mr. Stiller. Brad Sloan is sliding toward the big “5-0” and shares a home in Sacramento, CA with his lovely wife Melanie (Jenna Fisher) and their eighteen year-old aspiring musician son Troy (Austin Abrams). He’s about to go on a college “scouting” tour of East Coast schools with his pop (mom has a big work conference to attend). This prompts Brad to recall his old college days at Tufts (a quaint smaller campus) and compare his life to those of his old classmates. Seems every time Brad channel surfs past a TV political show, one of the “talking heads” is old buddy Craig Fisher (Michael Sheen) a former White House staffer, now published pundit. Then there’s Wall Street whiz Jason Hatfield (Luke Wilson) who’s crisscrossing the globe in his private jet. Billy Wearstler (Jemaine Clement) made a bundle on a tech gizmo and has retired to an Hawaiian island (with two much younger ladies). And Nick Pascale (Mike White) is a celebrated Hollywood producer. As for Brad, he’s running a not-for-profit organization (connecting rich donors to charities) and wondering if he can pay for Troy’s college. But soon into the trip Troy drops a bombshell: his academic counselor said he could get into any school he wanted, including, dare we say, Havard. This energizes Brad who is now “laser-focused” on getting his son into the prestigious college. But when the interview is fouled up, can he get things “back on track” via his old campus pals? Or will he get the “brush off’ (guess the newer term is “ghosted”)?

 

 

After several years of franchise flicks (NIGHT AT THE MUSEUM, MEET THE PARENTS), Stiller reminds us of his considerable dramatic acting “chops”. It’s a thoughtful, quiet performance as he lets eyes (and furrowed brow) do quite a bit of the “heavy lifting” on Brad. The “weight of the world” seems to be on his weary wobbly shoulders as he shuffles through the campus “quads”. Luckily there are the lighter moments and Stiller handles them with subtlety (this from Zoolander?) particularly as he tries to bluff his way past several school officials. Stiller also shows us Brad’s warmth especially in the low-key, “just hangin’ out” at the hotel bits with his son. Abrams is a great partner with Stiller, particularly when he calms down his frenzied father, balancing exasperated embarrassment (the mortified teen) with affection that affirms their deep bond. Though she gets less screen time than him, Fisher is superb as another soothing voice, Brad’s “rock” and Troy’s very proud Mum. It’s a shame that for the bulk of the film she’s regulated to another “wife on the phone”, but thanks to Fisher’s solid work, her presence is always felt. As in the recent HOME AGAIN, Sheen is the hissable villain, though he’s much more complex this time out. Smug and stuffy, as Fisher he haunts Brad like a “ghost of Christmas past”, a reminder of missed chances. Craig does come through in a pinch, but at the dinner reunion with Brad, he reveals his casual cruelty, unaware of the consequences of his actions and words. In between historical figures (Blair, Frost, etc.) Sheen has played many arrogant jerks, but with this script he injects the film with an acidic giddy energy. Wilson and Clement have extended cameos in phone conversations with Stiller, but both deliver the dramatic and comedic “goods”. One supporting actor who’ll soon be on every studios’ “radar” is young Shazi Raja who plays Ananya, a former classmate of Troy’s who is already in the music program at Harvard. A meeting and conversation with her stirs up Brad’s nostalgia for his collegian sense of exploration, perhaps reminding him of lost school crushes. We’re led to think that Brad is smitten, but at a late night cocktail minus Troy, she delivers a scathing “wake up call” in one of the film’s best scenes. Yes, the camera “loves” her, but Raja projects an intelligence and strength that takes the story in a compelling direction.

 

Mike White may be best known as a writer (SCHOOL OF ROCK, THE GOOD GIRL) and occasional actor (he has no dialogue as Nick Pascale as we see him living in “the lap of luxury” with hubby Xavier), but he shows great skill as a director in this his second feature film ten years after YEAR OF THE DOG. He keeps the story (which he wrote) gliding along at a brisk pace and peppers the flick with some clever fantasy sequences (what if Troy becomes a jerk). Working with the gifted musician Mark Mothersbaugh, White balances Brad’s voiceover with his interior soundtrack that shifts gears as he plunges from euphoria to depression. And White gets great work from several screen vets and a couple of talented newcomers who serve his wise script very well. It’s a thoughtful funny spin on the old “the grass is always greener” adage, showing why “coveting” is mentioned so much in the ten commandments. Despite his restless nights full of worry, BRAD’S STATUS is pretty darned positive. Just like this engaging little film.

4 Out of 5

 

THE WILDE WEDDING – Review

 

With the big end of the year holidays still a couple of weeks away, what kind of big event can gather a big family (or a diverse acting ensemble)? It’s gotta’ be a comedy so a funeral is probably out of the question, although both the British and US versions of DEATH AT A FUNERAL are pretty darned hilarious. No, there’s got to be a romantic angle, so the setting should probably be a wedding. Film makers have used them for lots of comedies that are ripe with conflict from all the versions of FATHER OF THE BRIDE to those big cast showcases like Robert Altman’s A WEDDING and the big, big superstar-studded , appropriately named THE BIG WEDDING just three years ago. And like that flick, some of the exes are involved, upping the tension and making for THE WILDE WEDDING that lives up to its name (spelling explained shortly).

 

Laying out the clustered family tree is teenage film maker Mackenzie (Grace Van Patten), who, conveniently for the audience, is making a documentary of the event for her grandmother (don’t call her that), celebrated film actress Eve Wilde (Glenn Close). Mackenzie is the daughter of one of three sons that Eve had with her first husband, stage icon Lawrence Darling (John Malkovich). Eve is about to tie the knot with her fourth husband, renown British author Harold (Patrick Stewart). He’s not big on show biz, so his two twenty-something daughters quiz him on Eve’s career during the trip to the swanky wooded estate where the ceremony will take place. Mackenzie’s uncles are the bumbling single dad Jimmy (Noah Emmerich) and actor/ladies man Ethan (Peter Facinelli). She lives her father Rory (Jack Davenport), a semi-retired songwriter/musician who was part of a rock band headlined by ex-wife (and Mack’s mum) Priscilla (Minnie Driver), who kept the band. She’s remarried and has a pre-teen son named Sam. Oh, and did I mention that Mackenzie pines for her cousin, Eve’s nephew, Dylan (Tim Boardman). But with an ex-wife and an ex-husband in attendance, that’s the least of the scandals and forbidden hook-ups that will occur during the wedding eve. But if everything went smoothly…well. where’s the fun in that?

 

 

For classic film fans, this isn’t quite the DANGEROUS LIAISONS reunion they may have been waiting for over the past (nearly) thirty years. Close is radiant as the former screen queen (certainly more content and, er, stable than her former stage role of Norma Desmond), but she has little to do other than gaze longingly at her former and future mates. We hear of her other adored movie roles, but other than a soliloquy to the bathroom mirror, there’s just talk. Malkovich gets a nice reprieve from the usual oddballs (the RED flicks) as a guy who’s more grounded, but will go into a theatrical gesture with little prompting (usually as he recounts another stage award). Stewart, sporting a ridiculous permed wig, is amusing as a stuffy, pompous jerk, maybe a refined version of the rom-com “Baxter” cliché’, but he’s mostly baffled and befuddled. As for the grown sibs and spouses, Driver gets to indulge in some campy diva behavior as the preening rocker that over-indulges in every excess. Of the three grown sons, Davenport projects an easy-going everyman vibe, as a fella’ who doesn’t need the spotlight any longer. The other actors don’t fare as well. Emmerich is a clumsy boob who moons over a bus driver (their eyes meet for a split-second, so he’s on the phone with her transit company), while squawking “get a ‘pre-nup'” to his mum. Facinelli is the “player” whose “bad boy” persona (oooo, he’s got a motorcycle, oh with a sidecar for his pooch…awww) is catnip to several of the ladies.

 

It’s still an impressive cast, but writer/director Damian Harris has shackled them with a story that’s calculated to hit every “sitcom-like” beat. While he’s aiming for charm, the result is more “smarm” with scenes teetering on edge of cloying and precious (let’s dance on the dining table, everyone). The opulent mansion and the surrounding woods and beach look lovely as gallons of wine are guzzled and a tin of naughty naughty chocolates are passed around (what’s that special spice). The film lurches along until the big reveal prompts an ending that would have seemed implausible and trite fifty years ago (really,everybody should have known better). And of course, two of the young lovers must leap, fully clothed, in the swimming pool near the finale’. It’s rather symbolic because despite this impeccable ensemble, THE WILDE WEDDING is all wet.

1.5 out of 5

 

HOME AGAIN (2017) – Review

 

Okay, Summer’s pretty much done, one for the books (and if we’re talking the”balance book” or financial ledger, it’s one Hollywood would like to forget). Things were so dire, that the major studios pretty much gave up on the last half of August. But look out “indies”, they’re back with a one-two punch. On one hand (and in most of the theatres) is Stephen King’s killer clown, and for a little alternative marketing there’s this family themed “rom-com”. It’s set in the upper classes of LA with homes outfitted and decorated with impeccable taste. Sounds like the work of writer/director Nancy Myers, you say? Well actually this is the feature film making debut of her daughter. So does the apple fall far from the tree (or the expensive ceramic coffee table fruit bowl)? Let’s find out when we go HOME AGAIN.

 

The opening title/montage gives us a look at the story of Alice Kinney (Reese Witherspoon), well the story of her famous parents really. Her late Pop was a celebrated film maker back in the wild 70’s who married his muse, leading lady Lillian (Candice Bergen). Thanks to his restless libido they split shortly after the birth of daughter Alice. Now she’s returned to his swanky LA home to set down roots along with her two daughters, second-grader Rosie (Eden Grace Redfield) and anxious pre-teen Isabel (Lola Flanery). It’s their first day of school along with Alice’s 40th birthday. This stresses her out, in part because she’s separated from her hubby, the girls’ dad Austen (Michael Sheen), an East Coast music mogul who insists he’ll be out west soon. Oh, and she’s starting a home decorating (or is it now “lifestyle consultant’) business. Across town a trio of transplanted twenty-something movie hopefuls are being booted out of their cheap motel digs (overdue rent you know). But this will not deter the three from success. They’ve made an award-winning short and are now looking to expand it into a feature film. Producer/director Harry (Pico Alexander), writer George (Jon Rudnitsky) and leading man Teddy (Nat Wolff) have a scored a meeting that day with one of the big talent management firms. The agents have some exciting prospects for the guys, so that evening they head out to celebrate. Oh, and they’re at the same bar/eatery where Alice is also celebrating her B-day with her gal pals. She and Harry generate sparks almost immediately, despite the age difference. Drinks flow, and…they all eventually head back to her place. While Teddy and George crash on the couches, things get steamy in the master bedroom between Alice and Harry. The next morning she’s surprised when Grandma Lillian drops by with the girls to pick up backpacks on the way to school. After clumsy introductions, the guys tell her of their lack of domicile. Lillian reminds Alice of the empty guest house and suggest the guys crash there until they save enough for a new pad. Sounds great to everybody but Alice. How will this affect the girls? What will become of her budding romance with Harry? And what will happen when Austen finally shows up?

 

 

Witherspoon brings endless energy to this, her “rom-com” return, and proves to be a true team player, even when the material is inconsistent. She conveys the worry and conflicting emotions that stem from plunging back into the single world. Alice seems to be concerned that this new love will swallow her up. This makes some of the “plot beats” ring false. Throwing a “mini-tantrum” when he new beau is kept at a business meeting and misses a dinner party? That’s almost teen behavior. Perhaps it seemed a way of “jump-starting” her scenes with Alexander. After the initial flirtations, there’s not a whole lot of chemistry between the two. Unfortunately Harry’s laid-back “smoothness” becomes too aggressive and smarmy, acting as if he’s trying way too hard to seduce Alice. As for his buddies, other than “being on the make’ for all the ladies, any lady in sight, Wolff as little to do, other than getting acting compliments (we never really get to see his talents, but people insist he’s got “it’). Rudnitsky fairs a tad better as the writer with integrity to spare (the movie’s gotta’ be in black and white because, you know, for “art’s” sake), but he’s reduced to being a manic mentor for the very needy Isabel (she even calls him her “support animal”). Thank the “movie gods” for two veterans who bring a bit of comic life into this. Bergen is forward and feisty with almost no filter, who can still cut other characters down to size with a glare or a raised eyebrow. And cheers to Sheen as the flick’s hissable villain, going from passive-aggressive to pompous ass at the drop of a travel bag. Sure he’s played this role before, but he ‘s so darned compelling you forget. He fares much better than Lake Bell, totally wasted in the thankless role as Alice’s “boss from Hell”. This multi-talented actress delivers the goods as the blithely selfish diva, but she deserves a much better role, as does her co-star in the recent I DO…UNTIL I DON’T Dolly Wells as the cliché’ BFF who’s cheering Alice on from the sidelines.

 

As mentioned earlier this is the feature debut of writer/director Hallie Myers-Shyer, who seems to be almost making a parody, rather than an homage, of the previous work of mother Nancy (who’s a producer here). More thought seems to have gone into the home accessories than into the characters. As I said, Alice is ‘all over the place”. After the ‘dinner party incident” she goes on a blind date (getting back at Harry), and proceeds to get “blotto” in front of her more age appropriate, dullard date. This enables Witherspoon to do her best “Dudley Moore as Arthur” woozy word slur as she confronts her ex-client in a sequence that’s more “cringe-worth” than comic. As the story lurches towards its conclusion (it’s a long 90 or so minutes), they resort to the time-honored frantic rush to a big school event, which results in much hugging and mutual understanding, feeling like a rancid 70’s “dramedy”. Yes, it’s a ‘safe’ flick’s that the older relatives can handle (it’s almost a middle-aged Goldilocks and the three twenty-something doe-eyed non-threatening bears…one’s even named Teddy). A tad racy, but nothing that will shock or offend. An ultimately nothing compelling or original. Perhaps the old adage is right, you can’t go HOME AGAIN. Or in this case, there’s no interesting need to return .

 

1.5 Out of 5