Review – Page 213 – We Are Movie Geeks

ANT-MAN – Another Take

“Face front” all you Marvel-maniacs! The movie universe is expanding by actually getting…smaller. When we last visited the studio mega-franchise, just about ten weeks ago, metallic maniac Ultron ( a really major fail from Stark Industries) was out to destroy humanity until the Avengers (lead by the big heavy-hitters like Thor and the Hulk) pulled the plug on his plans. And story lines were in place for a new cosmic menace. But this new entry is not set way, way up there like last Summer’s surprise smash GUARDIANS OF THE GALAXY. Our new hero is more down to Earth (many times he’s a fraction of an inch from Earth). Non-comics fans may be surprised that he’s actually one of the earliest Marvel characters, almost pre-dating the age of heroes by his introduction in the SF suspense story titled “The Man in the Ant Hill” from the anthology book “Tales to Astonish”, issue #27. Soon that title subject, scientist Henry Pym, donned some tights to become ANT-MAN and was the lead hero for that book. Eventually, he and his fiancée Janet Van Dyke (now his crime-fighting partner in size, the wondrous “Wasp”) were founding members of the Avengers along with Iron Man, Thor, and the Hulk. But while those other heroes gained fans becoming Marvel icons, Hank and Janet didn’t enjoy the same adulation, even after Pym adjusted his powers so he could also grow as “Giant-Man” (hey, he was the one that pulled the “Cap-cicle” out of the sea). Not longer after, they shared the “Astonish” book with the Hulk, and were eventually booted out in favor of Prince Namor, the Sub-Mariner (former villain, now aquatic hero). The Pyms continued to be mainstays of The Avengers monthly with Hank adopting the new persona of the arrogant “Yellowjacket” during a memorable story arc. Then in the mid-seventies, Marvel decided to relaunch Ant-Man as a solo star. But Pym would not be donning the helmet and spandex, instead former criminal Scott Lang would take over as the insect-sized adventurer. It’s Mr. Lang who’s at the helm of the new Marvel Studios release, ANT-MAN.

The action begins in a prologue prior to the now familiar red-tinted, flipping comics pages logo. We’re more than 25 years in the past as secretive science genius Dr. Henry “Hank” Pym (Michael Douglas) quite forcefully refuses to hand his miracle creation, the “Pym Particle” which can shrink the space between the body’s molecules allowing a person to become a tiny warrior, to the leaders of S.H.I.E.L.D. (a couple of said leaders are familiar faces). The secret will stay with him, even to the president day as he visits his former tech company Pym Labs (Henry was voted out by the board several years ago). He’s met by his daughter Hope van Dyne (Evangeline Lilly), who lead the coup fueling their strained relationship. In one of the research rooms, they join a big group to hear the presentation by Pym’s old protegé, and now head of the firm, Darren Cross (Corey Stoll). Cross touts his new variation on Pym’s formula (Hank’s kept it to himself), insisting the they’ll soon crack the code and be able to shrink living beings as part of the “Yellowjacket” project and an unstoppable military and covert fighting force. This greatly concerns Henry. Meanwhile Scott Lang (Paul Rudd) is finally released from San Quentin. Known as a “cyber Robin Hood”, Lang had learned that his former employers in the banking industry were bilking his customers of billions, so he snuck in and restored the depleted accounts. But after he was busted and did his time, nobody will give him a job or a break other than his old co-hort (his “Friar Tuck”), Luis (Michael Pena). When he shows up uninvited to the birthday party of his six year-old daughter Cassie (Abby Ryder Fortson), Scott is told by ex-wife Maggie (Judy Greer) and her new beau, a police detective (!) named Paxton (Bobby Cannavale), that there will no visitation until he gets a steady job and sends child support. Scott’s in a corner, so he finally tells Luis that he’ll be part of a “sure thing” burglary along with hacker Kurt (David Dastmalchian) and “wheelman” Dave (T.I.). But when Lang breaks into the safe in the deserted house he only finds a weird motorcycle outfit (an od metal helmet and a red and grey jumpsuit). He’s been set up by…well, needless to say the con and the brain are soon a very unlikely team in a race against time to stop Cross from selling his deadly tech to the highest bidders.

Casting a super-hero can get pretty tricky (see Seth Rogan as the GREEN HORNET…or…maybe not). Happily reluctant hero Lang is a perfect fit for the ever-charming Rudd, who’s closer in style to Robert Downey, Jr. than the Chris trio (Hemsworth, Evans, and Pratt). Rudd gets to run the gamut of emotions in the role: despair, desperation, determination, panic, unease, and ultimately focused courage, all the while never losing that expert comic timing. His Ant-Man is really every man. On the more serious (really nearly totally somber) is Douglas as Rudd’s surrogate teacher/father. He’s Obi-Wan Kenobi crossed with Doc Brown and Fred MacMurray from the flubber flicks. Pym’s haunted by a devastating past loss, but he’s got to set it aside in order to turn the reins (and the ants) over to Lang. Lilly as his daughter is not so quick to put aside that loss, and for much of the film, she keeps that chip, along with countless others, on her shoulders. Hope is almost the “rom-com” “uptight” business woman with a heart of ice that the hero must try to thaw. She’s somewhat hampered by the severe bob cut, a hairstyle that invokes the Wasp’s 60’s pageboy. As one of Lilly’s former co-stars might say, “Gotta’ see yer’ eyes, freckles.”. Menace emanates from Stoll in her first scene (another bald villain, like Jeff Bridges in the first IRON MAN? C’mon Marvel Studios!). He’s a cold, heartless cobra attired in a slick $1000 suit. Take the kiddies out to the lobby for a scene of casual cruelty with a co-worker who disagreed with him that matches any of Loki’s most vile, vicious acts. It takes some time for him to ascend to full super-villain status, but it’s worth the wait since Stoll makes a truly formidable foe. Thankfully Pena is there for some great comic relief as the always excited and often giddy Luis. His stories of past interactions are some of the film’s hilarious highlights (and dig the ultra-cool bartender in the final story). Actually he’s the leader of a pretty great comedy team (Pyms refers to them as “those three wombats) with the entertaining T.I. and Dastmalchian. Cannavale is terrific as the exasperated cop, who can’t seem to get away from his girlfriend’s ex. And Fortson, with the wide “parking lot” grin, just may be this Summer’s most adorable moppet.

There’s been considerable articles over the last few months concerning the behind the scenes turmoil occurring during this film’s production (it’s been in the works for several years). Beloved director Edgar Wright (SHAUN OF THE DEAD) left for the film before shooting began. This has caused many to muse about how a Wright-directed Ant-Man would play, and coming down on the finished film, because it’s not how they imagined Wright would have done it. This isn’t fair since the Wright Ant-Man doesn’t exist other than in the minds of many fans. The Peyton Reed ANT-MAN does and is in theatres now. And Mr. Reed, who is mainly known for comedies like THE BREAK-UP, and BRING IT ON. proves to be an excellent action, fantasy, SF film maker. He evokes that child-like sense of wonder, especially as Scott first shrinks down in a bathtub that seems several football fields long, to those tentative encounter with some terrific CGI ants (A BUG’S LIFE and ANTZ have nothin’ on “Ant-ony” and his pals). In the former sequence we recall those great late show staples like DR. CYCLOPS and THE INCREDIBLE SHRINKING MAN, even the kitchy TV classic “Land of the Giants”, but with truly state of the art EFX. With the later, Scott, riding atop a carpenter ant with buzzing wings, seems like a real world AVATAR or a high-tech Lone Ranger. In one scene, he leads the ants on a charge like Tarzan and his elephants in the finale of most of the MGM series. Those “picnic crashers” are pretty handy (could this make the return of “Ant Farms” as kids toys?). The tone may be thanks to the screenplay and story that Wright worked on, along with Joe Cornish and polished by Adam McKay and Rudd himself! And the film is more independent of the Marvel movie-verse than the other entries (save for those GUARDIANS). However we do meet another hero, and as we learned from MARVEL’S THE AVENGERS and 50 years of Marvel comics, when heroes first meet, battle ensues! The best thing about this film may be the lack of non-stop destruction that usually takes up the last act of super-hero movies. No “disaster porn” here, although a home remodeler will surely have to be called. Oh, and one building does exp…er…implode! Clocking in at just a tad over 2 hours (the post credits scene is back! Yeah!), it avoids the blockbuster ‘bloat” and wafts thru the multiplex on a breezy script full of charm and wit. As much as I love Cap, the Avengers, and the Guardians, this may be the most entertaining, all-audiences, kid-friendly Marvel movie since the first IRON MAN in 2008. ANT-MAN proves that good, fun things really do come in the teeny, tiniest of packages (and heroes).

4.5 Out of 5

CARTEL LAND – The Review

In the Midwest, we are aware of the illegal immigrant issues. We see it and live among it and have out own opinions about it, whatever they may be. But truly, we are far removed from the drug wars that occur at the US/Mexico borders. We, like any sizable city, see the drug abuse and the lives it tears apart, but that’s the end of the line. Where it starts, where the buck stops (so to speak) is where cultures and countries collide. That’s why films such as CARTEL LAND are crucial to the rest of us not living in the middle of the source of the problem.

Produced, directed, shot and edited and may other credits go to a nearly virtual one-man filmmaking team. Matthew Heineman tossed himself into the heart of darkness to capture a sample of the essence of organized crime in Mexico and it pays off, having risked life and limb in the process. CARTEL LAND is an off the cuff, seat of your pants documentary that at times plays like an action-drama. Intense moments of live gunfights between Mexican vigilantes and drug cartels are broken up by engagingly honest interviews on location and heartfelt, emotional moments of recollection and tearful testimony.

CARTEL LAND is essentially told in two chapters, inter-cut back and forth between the US and Mexican side of the border. Roughly one third of the focus lies on the Arizona Border Recon, a paramilitary group of citizens that patrol the border and track cartel movement and activities, in the hopes of squashing as much of it as then can. The Arizona Border Recon was started by Tim “Nailor” Foley, a veteran and former drug addict whose life changed after an accident which led him end his drug use and fight the cartels, who have increasingly become more bold in crossing into US territory.

The story of Foley and his Arizona Border Recon is weak, admirable on some levels, but little happens and interviews with Foley lead us to have certain doubts about his and others’ motives. His and his groups’ actions prove to have little measurable effect as depicted on screen and he is far less an intriguing character as his Mexican counterpart. Foley’s story often feels self-serving and not so much about the cause as it is about his own personal vendetta. This arc of the film draws away from the overall consistency and quality of the film and I honestly could have done without this portion altogether. I see and I understand the bilateral nature of what Heineman was attempting, but for whatever reasons, it fails to hit its mark.

The other two-thirds of CARTEL LAND focuses on Dr. Jose Mireles, also known to his supporters as “El Doctor,” who honestly deserved to have the entire film centered on his story. Dr. Mireles saw what the drug cartels were doing to his friends, family and neighbors, and saw it eating away at the fabric of his country. He founded the Autodefensas, a paramilitary group of concerned citizens who take up arms and take back what is theirs… land, property, loved ones and control over their towns and their lives. Over time, Dr. Mireles and his Autodefensas enjoy incredible success and respect for their accomplishments. However, as we see repeatedly throughout the world, putting one’s self out there in the world eventually has its price as the underlying corruption that infects society seems always to relapse after a period of remission.

CARTEL LAND flourishes as a bittersweet drama of good deeds rewarded with bad luck brought on by evil men. Dr. Mireles is an extraordinarily fascinating individual with whom we can relate. At the risk of overstating my point, Dr. Mireles for Mexico is like their Ghandi without the penchant for non-violence. He does good work, even is his means are forceful and ride the thin line of what’s lawful, but in the absence of law he brings justice. In this sense, I suppose we could call him the Batman of rural Mexico, but all kidding aside, it’s difficult to watch this film and not feel respect for the man.

This becomes all too unbearable when the tables turn and we realize what fate ultimately has in store for Dr. Mireles, a turn of events that is sickening and all too familiar here at home as well. CARTEL LAND is as much exotic to us as it is deeply personal and relevant too all our lives, even if we don’t feel it personally from day to day. Heineman puts himself out there, on many occasions capturing the chaotic, real-time danger and uncertainty on film as he’s pulled behind a truck for cover during a gunfight or tripped up during pursuits. Remember, this is a man and a camera in the midst of the action and its real life.

CARTEL LAND depicts a side of this ongoing, seemingly never-ending war from an entirely new angle and perspective. The film is not overly graphic, but images of beheading and hanging victims are displayed, as well as shots of dead Mexican citizens caught up in the violence. I commend Heineman for not shying away from this. It is reality and people need to see the truth as it truly exists. Like the westerns of the 1950s when nobody bled gave way to controversial modern depictions such as Peckinpah’s THE WILD BUNCH, violence begets blood and blood is life, so depicting the loss of life means we’re bound to see blood.

Let’s be honest. This is a hot button, political topic. CARTEL LAND is a film that digs into the truth without succumbing to the tabloid, self-serving sensationalist documentary styles of so many contemporary films of this nature. Heineman manages to drop himself right in the middle of the action and stays there till the end, but never turns the camera on himself and somehow remains virtually invisible the entire film, but still makes a powerful statement, the way documentaries should be made.

CARTEL LAND opens in theaters on Friday, July 17th, 2015.

Overall rating: 3.5 out of 5 stars

ANT-MAN – The Review

If you follow film news or write for a film website, it’s nearly impossible to watch ANT-MAN and not think of its tumultuous behind-the-scenes journey. Both Joss Whedon and James Gunn have praised the original script written by Edgar Wright’s and Joe Cornish. Marvel brought down the house at Comic-Con in 2012 when they showed Wright’s test footage from the just announced film. Combining Wright’s singular visual storytelling with the unique world of Ant-Man seemed like a perfect pairing. But then something happened. What exactly that something is and how it played out is still a subject of online forums and lengthy articles. All that we definitely know is that Wright was no longer the director of ANT-MAN. Being such a fan of his filmmaking style that perfectly balances sharp wit, exciting action, and kinetic camerawork, I can’t help but wonder what Wright’s version of ANT-MAN would have been like. His ideas still fill the story but the parts that feel the most like him don’t feel exactly right. The timing is off. The visuals don’t pop as much. The chemistry between the actors is not there. These are all factors in what makes Wright’s films work as well as they do. ANT-MAN on the other hand doesn’t work. Like at all. Marvel has had their fair share of ups and downs, but ANT-MAN stands as their weakest entry to date and makes me even more concerned for future Marvel projects.

Dr. Hank Pym (Michael Douglas) has created a new scientific breakthrough: the Pym Particle. But his company doesn’t appreciate his advances and he is quickly ushered out of his position as the head of the company. His daughter Hope (Evangeline Lilly) still holds much weight within the company but doesn’t trust their new leader Darren Cross (Corey Stoll). In order to protect the company from heading into a deadly direction, Hank Pym hires the help of a convicted criminal and master thief to break into the company to prevent their future plans. Armed with Hank’s incredible shrinking suit and an ability to communicate with ants, Scott Lang (Paul Rudd) becomes the Ant-Man.

Marvel has tried with the recent Phase Two films to differentiate each new entry from the last. For example, WINTER SOLDIER was more of a political thriller; IRON MAN 3 was a buddy-cop action film; GUARDIANS was a sci-if space adventure. ANT-MAN follows this trend of dabbling in different genres and can be best described as a mix of a comedy and heist film. Unfortunately the film doesn’t succeed in either respect.

Try as he may, Paul Rudd’s natural charisma and easy smile can’t save an endless amount of jokes and one-liners that simply fall flat. Whether it’s the direction by Peyton Reed or the script re-write by Adam McKay and Paul Rudd I’m not entirely sure (Joe Cornish and Edgar Wright wrote the original script). The film may be book ended with some high moments, but unfortunately the middle sags tremendously and misses the point of fun heist films.

The heist film is one of my favorite genres. I love the gradual building to an unbelievable or nearly impossible task. Seeing someone train or prepare to pull off the heist creates an anticipation to the point that when the climactic event happens, the audience is just as ready as the hero on screen. ANT-MAN doesn’t capture this. Sure, we see Scott practice shrinking to size under the guidance of Hank and Hope, but the suspense or fun is missing. Essentially the “cool” feeling is missing – that feeling you get when watching a film like OCEAN’S ELEVEN or MISSION: IMPOSSIBLE. Instead we are given one clunky, verbose speech after another by Michael Douglas and Evangeline Lilly. Their characters spend more time explaining what is happening and spelling out every character thought and motivation, instead of Reed showing the audience this through actions or simply just letting the audience enjoy the ride.

Outside of just the clunky script and unnatural lines of dialogue that many of the actors practically fumble over (Lily actually exclaims to the villain at one point, “Your brain is being effected by the…” insert pseudo-science brain wave jargon), the sense of wonder and awe is entirely missing once Scott learns to shrink to ant-size. The scene when he first puts on the suit should be a defining moment. He’s standing in front of a mirror and walks slowly backward into a bathtub. And yet, when he finally pushes the button and shrinks down in size… I felt nothing. I was let down. Sure we know it’s coming, but we also knew that Tony Stark was going to put on the Mach I suit and kick some ass. The scene isn’t played as a big moment (pun not intended) and isn’t a “WOW!” moment. What makes it worse are the effects once he is shrunk down. The Marvel films have showed us awe-inspiring CGI worlds, creatures, and characters, but this is without a doubt their cheapest looking film. Seeing a human run from a rushing wave of bathtub water should not elicit a yawn. Suffice to say, Ant-Man’s microscopic world of wonders is not a marvel to behold.

Where the film managed to sneak a laugh or two out of me was at the beginning and the end. Almost immediately we meet a crew of thieves and hackers that border on caricature but manage to be a highlight in large part because of the actors. Michael Pena has always been a character actor who manages to create a unique persona even if he’s just standing in the background. Here his comedic timing is put to good use. There’s a couple of instances where he’s asked to recount a chain of events, and these narrated flashbacks never got old. Likewise, the finale stands as one of the funniest and most inventive Marvel has staged yet. Staging the final fight in… well… seeing it will be a better surprise than me telling you. It speaks volumes that these two elements work the best and show the most influence of Edgar Wright.

ANT-MAN stands as the dark spot in the Marvel canon – because of both the behind-the-scenes drama and the lack of good drama on-screen. More and more we hear from directors that have worked for the studio and have expressed their lack of creative freedom. Both Alan Taylor and Joss Whedon have discussed this in interviews. The formula has taken precedence over the artist’s vision. Conveying a new character in the most digestible fashion as possible for an audience that is only familiar with known names like the Hulk and Captain America is their new goal. Not to mention, having to shoehorn other Marvel characters into these new character’s stories so that audiences can understand that they “fit” into the Marvel universe – like what they clumsily do in ANT-MAN – is a lazy way to connect all these films without letting their individual stories stand on their own. If Marvel continues this trend, I won’t have as much confidence for their future projects as I once did when IRON MAN once entertained me.

Overall rating: 2 out of 5

ANT-MAN is now playing in theaters everywhere.

ALOFT – The Review

During the dog days of Summer, film fans may feel that they’re on an endless Hollywood highway with exits to “sequel city” and “superhero central”. But for those with a quick eye, they can break away from the express lanes and venture down an offshoot rarely used this time of year. Lets call it “art house road”, which also has its share of off ramps. We’ve got the foreign films, the feature documentaries, and the low, low-budget indies. Many of these examples of cinema made their debuts in the film festival circuit. Some are quirky whimsical comedies that often grab a fervent “cult” audience. This is new film is at the opposite end of the spectrum. It’s moody, somber, dark and attempts to comment on humanity, or the lack of such in the world. And occasionally “name” actors will be involved, telling the press that it was a chance to “hone their craft” and “escape the studio fluff”. That’s certainly true here, since one of the thespians in this new film is an honest-to-goodness Oscar winner. But can she, along with her cast members, make the story soar and keep this film ALOFT?

ALOFT begins 25 or 30 years ago in the past. We’re following Nana Kunning (Jennifer Connelly) as she trudges through the frozen fields of Canada, pleading to hitch a bus ride. She’s leading her two sons: ten year-old Ivan (Zen McGrath), who brought his pet falcon (yup, really) and his sickly seven year-old brother Ike (Peter McRobbie). They join a desperate group heading out to see a mysterious healer called “The Architect” (the whole thing is a “hush hush” secret event). But only one person that day will receive his “gift”, decided by a random lottery (you’ve got to grab the only white pebble from a canvas bag). Nana’s son Ike is not chosen, so Ivan asks if he can fly his falcon while they wait for the ride back. As the chosen young girl is led into the healer’s abode (a ramshackle structure made of loose branches and twigs), the bird swoops inside. Nana runs inside to protect the girl as the abode crumbles. The healing session is canceled and the organizers order the crowd to disperse. The crowd directs their wrath at Nana and her boys. Cut to today as a reporter, Jannia (Melanie Laurent) visits the home of the now grown Ivan (Cillian Murphy) to interview about his falconry/bird training business. Ivan is infuriated when she instead asks him about his mother, now a somewhat famous recluse. He orders her out as she leaves a disc and her contact info. Later that night he pops the disc into his laptop and sees some footage of his estranged mother wandering through a frozen forest. He reconsiders and meets with Jannia. She tells him of her impending journey to the Arctic to locate Nana and Ivan asks to join. Over the lengthy trip, Ivan’s mind drifts back to his childhood as we view the family’s tragic troubled past.

Connelly projects an indelible screen presence, one too rarely used in recent years, so it’s regrettable that she lends her talents to such an etherial, undefined role. She infuses Nana with grit and determination and elicits some compassion for this often beaten-down, struggling single mother (we rarely hear of her former partners as she trudges to her mind-numbing job at a meat processing plant). But we never really go inside her head as she makes her devastating parental decision. This is the inspiration for the constant anger and rage that Murphy must be project, with brief intervals particularly during an intense panic attack in the ice and snow triggered by a horrific childhood trauma. Laurent continues to impress as a compelling screen performer, but her role is often a plot device used to get two other characters in position for the big confrontational finale. Still her big reveal about the trip’s true purpose packs an emotional wallop. McGrath as young Ivan gives a realistic, nuanced portrait, free of cloying, child actor ticks.

Director/screenwriter Claudia Llosa never really breathes life into this dreary drama with the falcon subplot never emerging as more than heavy-handed allegory. Like the characters, we feel trapped in this bleak, overcast, frozen Hell with little chance of escape, or even a bit of warmth and sunshine. We’re on a never ending Arctic trek, too. With the two separate time lines, the story tries to build to a huge last act that never delivers any emotional heft. Instead we marvel at the superbly subtle aging of Connelly by the terrific make-up team (aided by her movement and vocal delivery). But in these last moments ALOFT finally crashes to the hard, cold ground with a definite thud.

1.5 Out of 5

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

MR. HOLMES – The Review

Lets add another entry to the long, long list of feature films concerning the fictional character that’s been in more movies than any other (perhaps this new one will put him past Dracula, or at least in a tie with the Count). Just who is it? To evoke the old cliché, it’s elementary, film fans, for it’s none other than “the world’s greatest detective”, Sherlock Holmes. Most recently director Guy Ritchie cast Robert Downey, Jr. in two big screen blockbusters set at the start of the 20th century (while Sherlock jumped to the modern-day for TV shows on CBS and the BBC). This new film is also set in the 20th century, but our sleuth is not the bare-chested, bare-knuckle brawler from the Ritchie flicks. No, this is set in the middle of said century, with our hero well, well past normal retirement age. Sir Ian McKellen, the portrayer of pop culture icons Gandalf and Magneto breathes new life into another powerhouse from the printed page as MR. HOLMES.

Near the end of his life, long after he wrote the last mystery novel, Sir Arthur Conan Doyle would be asked by interviewers, “So, what’s Sherlock Holmes doing now?”. He would respond with a stock answer about him retiring to a country farm in order to continue his bee-keeping studies. This is pretty much where we find Holmes (McKellen) at the film’s start. Arriving at a rural train station, he boards a taxi to that cozy cottage, tended to by his housekeeper/cook, the widower Mrs. Munro (Laura Linney) and her ten year-old son Roger (Milo Parker). Holmes instructs Munro to add the juice of the prickly ash plant to his food and drink. This rare plant was the reason for his recent trip. To Japan. Holmes was the guest of author/biologist Tamiki Umezaki (Hiroyuki Sanada), whose recent work touted the plant’s regenerative effects on the human brain. Seems that the “royal” honey produced at the farm is not helping the great Holmes mind. Almost didn’t mention that the year is 1947 and Mr. Holmes is a still spry 93. But his razor-sharp faculties are dulled by age. He’s ruined many a dress shirt by writing names, “crib notes” (of recent friends) on his cuffs. Hopefully this will help with his newest project: writing his own account of his final case, since Dr. Watson had too much of a flair for the dramatic. Roger happens upon the manuscript and implores him to finish. But the facts fade until finally Holmes can fully recall this solo (Watson had married and moved out) case, one whose tragedy hastened his retirement. As his twilight days dwindle away, Holmes bonds with Roger over the bees, as his mother contemplates a change.

There’s still more than five months left in 2015, but I’ll be very surprised to see five better lead actor performances than the wonderful work from the always compelling Mr. McKellen. The stage and screen veteran nearly provides a master class in acting, bringing new unseen dimension to this familiar role. Holmes goes from angry to charming, arrogant to modest almost at the duff of a top hat. Most unusual is his fear, that of losing his skills, and his attempts to hide his frailties from others and … himself. Finally here’s a Holmes that learns to care about people, that’s it’s not a failing fault of lesser folk. This may be best shown when he is horrified by a family argument that seems to cut like a jagged dagger. And there’s also regret as he recalls how his choices affected others, often tragically. Linney is a forceful head of the house who will not be intimidated by the famous man. Parker is exceptional as the fatherless boy who clings to Holmes as a mentor and perhaps a grandfather. Their interplay is quite delightful. As for the supporting players, Hattie Morahan gives a haunting performance as the object of that last case. She is at first scornful of Holmes, not being impressed by his “parlour tricks”, then realizes that they are somewhat kindred spirits. And big kudos for casting a former screen Sherlock as the star of the matinée feature that Holmes views at his local London cinema (which causes him to squirm in his seat).

The reteaming of McKellen with his GODS AND MONSTERS director Bill Condon is cause for celebration (can it possibly be seventeen years?). Condon brings a light, intimate touch, knowing when to cut for the maxim effect while inspiring such terrific work from this impressive cast. He also is adept at story “plate-spinning” as he keeps jumping between three different timelines without an ounce of confusion. Truly effective is an eerie sequence in which Holmes explores a real historical locale far more shocking than any “hound of Hell”. The sets and costumes stun as does the camera work by Tobias A. Schliessler. The pace never lags either, thanks to screenwriter Jeffrey Hatcher’s adaptation of Mitch Cullin’s novel “A Slight Trick of the Mind” (and Doyle’s classic creations, of course). The music by Carter Burwell never intrudes or overwhelms. My only complaint is his choice for the matinée music, it doesn’t really evoke the lush, full orchestra scores of the golden age of Hollywood. Ah, but I’m splitting hairs because this is a sublime affecting entertainment. If you’re smart enough to go to the right address (one of the film’s clever quips), than please treat yourself to a visit with MR. HOLMES.

5 Out of 5 Stars

TRAINWRECK – The Review

TRAINWRECK is smart and funny and its female-centric theme will appeal to many women. I just hope they have the patience to trudge through the slow spots in the story which director Judd Apatow should have trimmed down to a more brisk running time. Amy Schumer wrote TRAINWRECK and stars as single New Yorker Amy, a feature writer at S’Nuff, a jerky magazine that runs articles such as “You’re Not Gay, She’s Boring” and “You Call These Tits?”. Amy is a Good Time Gal who smokes pot, drinks too much, and sleeps with more than her share of men. Sometimes she avoids the walk of shame, but other times wakes up wondering whose bed she’s landed in (“I hope this isn’t a dorm room” she mumbles after spotting a SCARFACE poster on the wall of her latest drunken conquest). Though she sorta has a boyfriend (John Cena), when it comes to relationships, Amy is decidedly noncommittal. The film opens with a flashback speech from her father (Colin Quinn) about whether monogamy is even possible, illustrating his point with young Amy’s doll. Her editor (Tilda Swinton) assigns her a story on geeky Dr. Aaron (Bill Hader), a surgeon who specializes in rebuilding injured athletes. She seduces him after their first meeting, only to realize that he’s really into her, and to her surprise, she may feel the same way.

TRAINWRECK is often hilarious but plays as more a series of sketches than a full-blooded movie. The overall result is patchy and at 122 minutes, the film is at least half an hour too long. Seeing it I felt like I was binge-watching 4 or 5 episodes of some sort of foul-mouthed Amy Schumer sitcom popular on HBO (I’m aware such show exists somewhere). Ms Schumer is a huge talent but has the presence of a TV actress, not a movie star. Apatow’s penchant for close-ups and medium shots adds to the small screen feel. A romantic montage spoof ending with the Queensboro Bridge shot from the MANHATTAN poster (with Amy noting “I think this is where Woody Allen met Soon Yi”!), is the only time TRAINWRECK seemed cinematic. Schumer’s script is clever but uneven and the director’s trademark improvisation creates messy scenes that don’t know when to end. An odd intervention sequence with Chris Everett, Mathew Broderick, and Marv Alpert (a punchline 20 years ago!) is a dud and the climactic cheerleader showdown goes on and on just when you want the movie to end. There’s also a weird movie-within-the-movie, The Dog Walker, starring Daniel Radcliff and Marisa Tomei, that they should either have done more with or left out.

Fortunately, TRAINWRECK is blessed with a large and terrific supporting cast for which Schumer has generously written colorful roles. The two surprise scene-stealers are a pair of athletes – NBA star LeBron James proves a natural comedian playing himself as a Downton Abbey fan who’s both Aaron’s patient and best friend, always with the doctor’s best interest at heart. And former WWF lunk John Cena as Amy’s musclebound boyfriend is not only notably funny but provides real warmth in a scene where he, believing he and Amy are dating exclusively, is heartbroken to discover that’s not the case. Comic Dave Attell gets in some zingers as the acerbic homeless guy living in front of Amy’s building and an unrecognizable Tilda Swinton rules as Amy’s brittle boss. Brie Larsen brings some seriousness as Amy’s sister Kim, Colin Quinn gets more comedic mileage out of his role as Amy’s sick racist dad than he probably should have, and it’s nice (if startling) to see 100-year old Norman Lloyd in a role, small as it may be, as one of dad’s nursing home pals. Hader nicely plays the decent straight man here, though you wonder why a successful surgeon would put up with the mercurial Amy (“You go down on me too much!” she scolds, “but don’t try to spin this into a reason to not go down on me!”)

Judd Apatow comes up with a lot of great ideas and has a formidable eye for talent in others. He noticed Steve Carell, Seth Rogan, and Kristen Wiig in minor roles in his other films and launched them to stardom. His and Schumer’s decision to blanket the thin narrative of TRAINWRECK with overlong and needless interludes inevitably wreak some havoc on the movie’s momentum, but many, especially women, are going to love the film and I do recommend it.

3 of 5 Stars

BOULEVARD – The Review

I miss Robin Williams, Lord I how I miss that man. I will never forget hearing that he had not only died but apparently by his own hand. This comic genius who brought so much laughter and love to so many people suffered from severe depression. And we lost him because of it, we lost so much.

Now here at last is the final piece of work on his resume, the final movie of Robin Williams. Is it a great movie? Yes, absolutely! Is it easy to watch? No, not at all. BOULEVARD is a movie with a deep well of sadness, a great epic sadness and loneliness that hangs over this movie and fills every frame like nothing I have ever seen.

Director Dito Montiel’s BOULEVARD is the kind of movie where every shot, every edit, camera angle and especially, every line of dialog and movement by every actor is important. Everything we witness is crucial to the story, there is no wasted time or space in BOULEVARD. Every actor in the story is on the same page and it shows.

Robin Williams is Nolan, an office drone in a bank who approves loans to home buyers. A loan approved for a gay couple gets him thinking. Nolan is married you see, to a lovely woman named Joy, brilliantly played by Kathy Baker (well, she is always brilliant!) They don’t seem to have much of a marriage. They sleep, not just in separate beds, but in separate bed rooms, they have no children. They live in a huge house with hard wood floors, the kind of rooms that echo if there is any sound, rooms that stand empty and free of dust and are tastefully and elegantly furnished, but never seem to be lived in.

Joy does not seem to work, Nolan brings her coffee in her bedroom as she watches daytime television and reads current novels. Nolan even cooks dinner for their best friend, Winston and his girlfriend, and takes care of the dishes afterwards. Joy has one task, get a bottle of wine for dinner and she forgets that. We find out that Joy does teach, three nights a week, English as a second language, but mostly she is home, alone.

Nolan and Joy seem to love each other but they don’t even sit on the same couch to watch television. Nolan’s Father is dying and his Mother died some time ago. Nolan is obviously distressed about his Father but never talks to Joy, or anyone about the pain he is experiencing.

Coming home from the hospital, late one night, more or less by “accident”, Nolan stops to talk to a young male hustler, on the Boulevard where all the working girls and boys hustle for tricks to turn.

Nolan has a secret you see, like many people (it seems) Nolan is secretly, painfully gay, and has never done anything about it. At first he only wants company from Leo (Roberto Aguire) the stud hustler he picks up. He is free with his money and Leo is at first puzzled that sex doesn’t come into the equation, at least not right away.

Nolan gets between Leo and his pimp, a black eye that he has trouble explaining is the result. His wife Joy starts to notice changes in his routine, little lies, time away from home that doesn’t quite add up. His friend Winston notices these changes too. And, as it must, the truth comes out; there are many painful, hard to watch scenes among all the characters before the end credits roll.

Written by Douglas Soesbe, BOULEVARD ends on a hopeful note but is such a sad movie, I recommend it highly, but with a word of warning, this is not a good date movie. This is not the Robin Williams of stand up fame. This is the Robin Williams of AWAKENINGS, ONE HOUR PHOTO and WHAT DREAMS MAY COME.

Watching BOULEVARD you have to wonder how much of William’s performance is acting, and how much is real, the real, profound pain of someone suffering from severe, clinical depression.

I wish Robin Williams could have gone out on a comedic note, I wish he could have brought us laughter one more time instead of tears of loneliness and regret. But as a last performance, a valedictory and a summing up and a farewell from a tremendously talented man who gave us all so much, few actors could have given us what we are witness to in BOULEVARD. Farewell to Robin Williams, you were and are loved and will always be missed.

Four and a half out of five stars.

BOULEVARD is playing in NY at the Landmark Sunshine and will expand to Los Angeles and additional major markets in the following weeks.

Images Courtesy of Starz Digital

AMY – The Review

Just scant weeks after the release of the superb biography of American musical icon Brian Wilson, LOVE AND MERCY, comes another feature film profile of another song-writing and performing talent. There are a couple of big, big differences. MERCY contains no actual footage of Wilson (except during the closing credits), with actors (two actually playing the subject) following a script in, more or a less, a “docu-drama”, usually a cable TV movie staple. This new film is almost all composed of archival, home video, and news footage, so it safely lands in the documentary cinema categories. And while Wilson continues to perform and create, the focus of the later film is most unfortunately silenced. Many may only recall her as the cartoonish-headliner in a squalid tabloid circus. Oh, but she was so much more. Celebrated film maker Asif Kapidia (SENNA) has succeeded in reminding as all of the remarkable songstress, taken far too soon: the incomparable Ms. Winehouse, AMY.

Kapidia eschews many standard “personality” docs by forgoing the usual “talking heads” clichés (the interview subjects are heard and identified as they narrate and comment on the proceedings) and, besides some aerial establishing shots, the “look-a-like’ reinactments. He utilizes an amazing access to personal video footage lent by family and close friends along with uncensored television news feeds and concert highlights. Of course, it helps that Amy was born just as the affordable camcorder home movie video boom really took hold in the 1980’s. However, Kapidia has chosen to begin this story in 2003, as the fresh out of school Ms. Winehouse, has begun to make a name for herself as a polished pub performer. We first see her bundled up, almost covered in a blanket, in the backseat of her first manager Nicky’s car as they trek to another gig (Amy seems more like a sweet tween snoozing on her way to a vacation spot). Not long into the film, do we get a glimpse of her childhood. Father Mitch admits to his neglect, as he pursued affairs as his wife Janis had to contend with an increasingly rebellious little girl. Eventually little Amy would be bounced out of school for getting a piercing (horrors!). Then we’re back on the road with wonderful performances at small venues as Amy gains renown for that soulful voice and her songwriting skills (Kapidia provides the lyrics, artfully superimposed off-center of the screen).

Included are several intimate looks at Amy as a “flatmate” from several old girlfriends (you can hear the wistful sadness in their voices), but soon the men in her life dominate her career and personal path. Two are part of an ongoing controversy surrounding the film. There’s Blake Fielder-Civil, the all-constant beau, nearly always caught on camera in the middle of a high-spirited howl. He ended up being an inspiration for many of Amy’s heart-rending tunes while, the film implies, escorting her down a dark road. And then there’s papa Mitch, the film’s most vocal critic. As her star rose, he suddenly emerges from her childhood fog to guide her, while seeming to hitch a ride on the “fame train” (we see unedited pieces from his very own TV reality show). Many times he seems more concerned with getting her in the recording studio or on stage, then with getting her help for her inner demons. But he’s not alone, as when one of Amy’s girlfriends quotes a former manager saying that “many professionals, like doctors and lawyers are able to function while using heroin”. Unbelievable.

As the film’s marches towards its inevitable conclusion, we’re treated to some brief glimmers of hope. There’s her glorious Grammy victories, offset when a friend relates that Amy quietly confided in her, soon after the cheers died down, that “it would be more fun if still using”. We see her back in the studio with her idol Tony Bennett for his duet album, but Amy can’t enjoy it for fear that her voice is not perfect for her hero. The saddest sequence may be her “non-performance” at a massive outdoor concert in Belgrade. She tries to curl up and hide in a corner, almost like a tiny baby mouse caught in the bright kitchen lights, as the audience almost screams for her head on a platter. And then there’s the paparazzi, eager to chronicle her downward spiral, enveloping her in a flashbulb frenzy as she tries to live. This happens just as many TV comics made her the butt of their late night monologues (as one friend says, “When does it become okay to make fun of a person with serious problems?”). By then, most audiences may feel very protective of her, almost wishing we could reach into the screen and whisk her away from the maelstrom of madness. This may be the greatest triumph of this superb cinematic portrait from Mr. Kapidia. He’s lifted Winehouse from the parody of reckless over-indulgence (perhaps stemming from her biggest single, the anthem of “flipping the bird” defiance, “Rehab”) and reminds the world of what a truly unique talent we lost far, far too soon. And, perhaps best of all, he’s given us a look at the human being still terribly missed by all her knew her, their (and now everyone’s) AMY.

5 Out of 5 Stars

AMY opens everywhere and screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre and Plaza Frontenac Cinemas

TESTAMENT OF YOUTH – The Review

Well, looks like it’s time to take another break from the Summer movie multiplex mayhem and settle in for something a tad more staid and much more somber. Like last May’s FAR FROM THE MADDING CROWD, this new release feels closer to an “end of the year” award and critics’ ten best contender. Like that earlier film, we’re back across the pond amongst the “veddy, veddy” British, plus it’s also based on a revered piece of literature. The time period is taken up about 50 years, so the horse-drawn carriages have given away to motorized vehicles (and lots and lots of trains). The big change is that this one doesn’t spring from the imagination of a writer, such as Mr. Hardy. Everything really happened to these very real people chronicled in an acclaimed memoir. Happily, like FAR, this new work balances rising young stars of cinema and TV alongside several familiar seasoned thespian pros in breathing dramatic life into the story of Vera Brittain’s TESTAMENT OF YOUTH.

We first meet Ms. Brittain (Alicia Vikander) dashing through the crowded celebratory streets of London at the end of the “great war” in 1918. Abruptly, the film speeds back four years, as Vera, in her late teens, leads a fairly idyllic life in an upper middle class two-story home, far from London, nestled amongst rolling green hills and meadows. She’s mortified, however, when she returns home from a lake swim with younger brother Edward (Targon Egerton), who’s home from school with classmate pal Victor (Colin Morgan), who’s not-so-secretly smitten with Vera. Father (Dominic West) and Mother (Emily Watson) have ordered a piano, so that Vera may practice her music at home while entertaining suitors. But Vera is not husband-hunting. She wishes to join Edward at Oxford (much to Mr, Brittain’s dismay). Her declarations are interrupted by the arrival of another of Edward’s schoolmates, Roland (Kit Harington). There’s an instant attraction between Vera and the budding poet. He shares his works with her, and after his departure, they begin an intense correspondence. This inspires her to take the Oxford entrance tests, which she passes. But fate conspires to keep the lovers apart as the clouds of war emanate from the east. When war is declared, Edward, Victor, and , yes, Roland heed the call. But Vera is compelled to assist and, much to the dismay of her supportive teacher Miss Lorimer (Miranda Richardson), she becomes a nurse, hoping that once the conflict ends, she and Roland can finally be together.

Vikander is a new international star who has made quite an impression with roles in A ROYAL SCANDAL, ANNA KARENINA, and, most recently, EX-MACHINA (and her work in the big, budget move remake of the TV classic THE MAN FROM U.N.C.L.E. is just a few weeks away). She adds this new role to her resume, and ably carries the dramatic heft of this film. Her Vera is a tough, determined young woman who’s not sidetracked when in the throes of first love. More than anything, these new feelings sharpen her focus and ultimately they guide her towards her life’s work. Particularly memorable are her initial pangs of infatuation as she caresses the letters from her adored Roland. TV fan favorite (a heart-throb on HBO’s “Game of Thrones”), Harrington projects a smouldering intelligence, that is almost snuffed out by the war’s horrors. In a compelling scene set break from battle he actually seems more excited in seeing his schoolmates than his lady-love. Egerton is stalwart and sweetly supportive as brother Edward, while Morgan moons likes a lonesome puppy at the uninterested Vera. West is the often exasperated head of the house, careful not to show his true feelings, while Watson keeps him in check, until the outside world pushes her into fantasy and delusion. Richardson is superb as the academic mentor to Vera, eventually becoming a surrogate mother. Joanna Scanlan elicits a few smiles as the bewildered Aunt Belle who’s tapped into being a chaperone for Vera’s time with Roland (the lovers are always several steps ahead of her). Although she’s listed prominently in the film’s ads, the delightful Hayley Atwell (Agent Peggy Carter of the Marvel movie and TV universe) doesn’t show up until the film’s final hour as Vera’s startlingly upbeat supervisor Nurse Hope in a few scenes near the French war front (it’s closer to an extended cameo).

Prolific TV director James Kent makes his feature film debut with this often, uneven sprawling epic. It has the feel of a two-part mini-series stiched together (episode one “Vera Falls in Love on the Way to Oxford”, episode two “Vera Goes to War”). Aside from the beginning of a romance, the main characters never really spring to life, often seeming like animated “tintypes” and etchings. Instead of drawing us in, the film keeps the audience at a distance. We’ve seen these horrific medical war stories before, going all the way back to Best Picture winner ALL QUIET ON THE WESTERN FRONT to countless versions of A FAREWELL TO ARMS, with elements of the TV and movie incarnations of M*A*S*H* (bloody tent operations and constant showers making miles of mud), and even the classic crane shot of the wounded from GONE WITH THE WIND tossed into the mix. Yes, war is awful, we’ve learned that from countless films. Considering the superb cast, it’s a true shame that film never surprises and instead lurches into the familiar. TESTAMENT OF YOUTH is full of lovely and sometimes heartbreaking images that never really merge into a drama that engages both the mind and heart.

3 Out of 5 Stars

GEMMA BOVERY – The Review

Review by Dana Jung

Martin is living a rather mundane life in the Northern France, operating a bakery in a small quaint village. He has an attentive but rather shrewish wife and a teenage son, but they don’t really alleviate the boredom he feels. Martin’s existence, however, gets more interesting when a new neighbor arrives in the form of Gemma Bovery. Martin is immediately smitten with the beautiful and vivacious Englishwoman who at first seems to love her new life in the French countryside. As a fan of the Flaubert classic MADAME BOVERY, Martin also quickly sees similarities between Gemma and the iconic fictional heroine. But are the similarities real or simply a figment of Martin’s rekindled imagination?

The new film GEMMA BOVERY presents a modernized and sometimes playful account of Flaubert’s literary classic. The 160-year old tale about the rise and fall of a Frenchwoman ushered in a more realistic style of storytelling and has influenced female characters for decades. Flaubert, Martin says, was the first to create the character of the “bored woman” in literature.

Gemma Arterton, speaking her role almost entirely in French, is perfection as the fictional Gemma. One of the most sensually beautiful actresses on the planet, Arterton captures the giddy happiness Gemma feels when she first moves to the country with her husband Charlie (Jason Flemyng, a busy character actor most familiar to Amercian audiences in X-MEN: FIRST CLASS and HANNA). Her romanticized view of French country life quickly gives way to the realities of leaky roofs and infestations of field mice. And Gemma’s effect on the men around her is magnetic. She is a natural flirt, but even women such as Martin’s wife or another neighbor seem at times mesmerized by the purity of Gemma’s passion for things she likes. Gemma is a person for whom the quest to find things in life is the reason for living, and she finds many things in Northern France. Arterton plays Gemma as almost an innocent in the way she pursues pleasure, never quite sure if what she wants is the right thing or the wrong thing for her. Gemma’s quest is symbolized by her appetite for Martin’s fresh bread, which he bakes in so many different styles and flavors. The literal bread of life plays a pivotal role in the story, as Gemma seems to want to try them all, some more than once, even though she knows that some breads are not good for her. Her marriage to Charlie seems idyllic at first, but we soon learn that she may have wed him while on the rebound from a former lover. A new lover complicates things even further, and as the web of Gemma’s life begins to unravel, we wonder how it will all end.

Madame Bovary has been filmed numerous times, the first in the 1930s by Jean Renoir. Actresses as diverse as Isabelle Huppert, Jennifer Jones, and most recently, Mia Wasikowska have taken on the role.

GEMMA BOVERY director Anne Fontaine tells the story in overlapping time shifts, sometimes repeating the same event from a different perspective which keeps the film fresh and engaging. And even though the tale is rife with tragic overtones, Fontaine balances this with dry humor. One of the ironies of the movie is that Martin does not seem to realize that his own life reflects that of Madame Bovary, resigned to a simple existence where nothing happens. But, as Gemma summarizes the book, “Nothing happens, but at the same time, it’s interesting.” Will life ultimately imitate art and send this Bovery on the path to self-destruction? Nothing may happen, but this charming French essay on a literary classic powered by Gemma Arterton’s wonderful performance, is very interesting indeed.

3 1/2 of 5 Stars

GEMMA BOVERY opens in St. Louis July 10th exclusively at Landmark’s Plaza Frontenac Theater

Share this:

Overall rating: 3.5 out of 5 stars

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this: