Review – Page 220 – We Are Movie Geeks

UNFRIENDED – The Review

UNFRIENDED is a pretty intense cyber-thriller that is sure to scare teens straight with its anti-bullying theme.

Sure, we’ve all seen the wave of found footage flicks that has come out in the past decade or so, starting with THE BLAIR WITCH PROJECT (which, FYI, still holds up). Since it’s release, audiences have been bombarded with the sub-genre of films… some good, some terrible, such as the never-ending supply of PARANORMAL ACTIVITY movies. This is where UNFRIENDED broke the mold. The film modified the handheld cam look, and upgraded it to a laptop. Think about it. What are teens up to when they are at home on a school night? They’re talking to their friends in group chats, posting on Facebook, and texting with their smartphones. It’s never been easier for kids to have access to whatever it is that they want. Unfortunately, this is also a source of instant gratification without thinking about the consequences. I couldn’t imagine growing up in a world where every mistake that I made had the possibility of being seen by millions, just because some jerk with a camera phone thought it was funny, and wanted a few ‘likes.”

This is where the tale of Laura Barns comes in. Here, we have a girl who got too drunk at a party, and passed out in a humiliating way. When video of the hazy night went viral amongst her schoolmates, the harassment and bullying was enough for her to end her life, which someone also caught on video and shared online.

One year later, on the anniversary of her death, a few friends go about their normal teen lives and join up for a group chat on Skype. Everything is fine until a mysterious caller chimes in, and continues to mess with them, until finally revealing that it is Laura Barns. It’s simple. Now that she is gone, she’s determined to figure out which one of her supposed friends released the tape. It’s a game of ‘whodunit’ where no one really wins.

I, being in my thirties, don’t use Skype on a regular basis, but am still rather familiar with it. Hearing the call noise, and waiting to see what would happen actually had me anxious. That never happens, since I’ve watched so many horror films in my life, and generally know what to expect. This, however, felt fresh. They didn’t rely on just using jump scares to horrify the audience. Instead, they also used a relatable story theme, and created tension throughout the film. Director Levan Gabriadze did a great job of creating a natural flowing, fun film. The same goes for the cast. A lot was riding on their shoulders since most of their script was improvised. They were in charge, in a way, of how they looked on camera since they really did have a makeshift skype-type of chat screen in front of them, and really moving the script along. Also, kudos to these guys for playing teens, since they’re all in their mid-to-late twenties, with the exception of Jacob Wysocki, who is now 24.

Look, it takes a lot to get through to the youth of today. They have the whole world at their fingertips, and at an impressionable age, that can be dangerous. If a good scare is what’s needed to get them to think before they upload something, or type something cruel on the internet, then let’s scare them. Remember, it takes no courage to say something while hiding behind a screen, but on the other side there is a person, just like you. Words hurt. Bravo on the message, even though it’s a bit extreme!

Overall rating: 4 out of 5 stars

FOR MORE INFO:

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OFFICIAL WEBSITE : http://www.unfriendedmovie.com

TWITTER : https://twitter.com/unfriendedmovie

UNFRIENDED is in theaters April 17

MONKEY KINGDOM – The Review

The latest Earth Day release from Disneynature, MONKEY KINGDOM, is the charming story of Maya, a toque macaque living in the rainforest of Sri Lanka, whose world is changed when her son Kip is born. Anxious for her son to have all the best that life in their troop has to offer, Maya tries, not always successfully, to climb the social ladder and advance up the pecking order of the troop. At the top sits alpha male Raja, and his harem of top females and offspring that get the best beds, the best food and the best treatment.

After an attack on their home, Castle Rock, by a neighboring troop of monkeys, Raja is injured and the troop must now rely on Maya and her mate Kumar’s jungle smarts and street savvy to survive. One particularly hilarious sequence shows the local town and markets overrun with monkeys, stealing every piece of food they can get their little monkey hands on. After a few days of gorging and building up their strength, Maya and the rest of the troop, led by Kumar, are now ready to launch the fight to get their precious home back.

Narrated by Tina Fey, MONKEY KINGDOM is directed by Mark Linfield, who worked on Disneynature’s terrific CHIMPANZEE and co-directed by Alastair Fothergill, who has had a hand in almost all of the Disneynature features, including BEARS, and AFRICAN CATS.

Once again, Linfield, Fothergill and crew capture some of the most spectacular images of the jungle and its’ inhabitants that most humans would never have the opportunity to see. Composer Harry Gregson-Williams brings the ancient ruins and jungles to life with his score. As with the previous Disneynature features, the end credits give audiences a glimpse into what the actual filming was like (monkeys taking selfies, anyone?). MONKEY KINGDOM is spellbinding.

5 out of 5 stars

Disneynature’s MONKEY KINGDOM swings into theaters April 17

For every ticket sold opening week (April 17-23, 2015), Disneynature will make a donation to Conservation International to help protect monkeys and other endangered species in their natural habitats.

SEYMOUR: AN INTRODUCTION – The Review

You might assume that music takes center stage given the subject of SEYMOUR, but Ethan Hawke’s look at the reclusive concert pianist is so much more. Composer Seymour Bernstein is the focus of SEYMOUR: AN INTRODUCTION. Like the title would suggest, we briefly get to know the journey of a man who studied piano, went over-seas to war, composed musical arrangements, and then suddenly stopped performing publicly due to crippling stage fright. But that is what’s so great about Hawke’s documentary debut. Like a classically trained pianist who effortlessly can glide his fingers across keys without a single misstep, Hawke guides the film across multiple subjects, bringing into question music’s true purpose, finding true happiness, and the pros and cons of becoming famous for your art.

Seymour Bernstein may be one of the greatest pianists in the world and yet most of us might not have ever heard of him had it not been for Hawke’s discovery. This look into the brilliant mind of Seymour is consistently fascinating due to the central character’s knack for thoughtful musings about life. He comes across as calm as a Buddhist monk – assured and yet direct in his convictions. Seymour’s philosophical beliefs are a result of years living as a reclusive and talented artist in New York City, and his ability to impart lessons or provoke questions is just as fascinating as his musical abilities. His countless hours behind the piano, studying music, and teaching students in both classes and workshops, have shaped Seymour into an introspective but thoughtful zen-like mentor. He seems like a grandfather figure that you immediately feel connected to – someone you could have known your entire life.

Hawke presents the film in an intimate and no-nonsense fashion. His focus is on the words and music of the subject, not on the technical aspects of the film process. Some might confuse this with laziness as a director, but SEYMOUR lends itself to minimalism, not unlike that of Hawke’s friend and frequent collaborator Richard Linklater. There’s not necessarily a restraint to how Hawke approaches his subject as much as there’s room for the conversations to naturally evolve. Personal stories about his time in Korea and comments about Beethoven’s classical compositions flow organically, building to a final performance in front of a small audience introduced by Hawke. Unfortunately both parties feel insecure and out of their element during the final concert, leading one to think that the film might have been better off on a quieter note than staging a forced grand finale.

Ethan Hawke may be known for balancing arthouse projects like BEFORE MIDNIGHT and BOYHOOD with mainstream fare like THE PURGE and DAYBREAKERS, but in his discussions with Seymour we learn of his desire for something more. He calls into question whether acting is where he’s meant to truly find his own artistic fulfillment. By placing himself in the film Hawke represents many of us who watch Seymour talk about his passion and ask the same question of ourselves. The director isn’t placing himself in the film as way to satiate his own ego – like some might say of director Michael Moore – but to open the conversation to the viewer to discuss further. SEYMOUR: AN INTRODUCTION may serve as exactly that given its succinct 80 minute runtime and its somewhat brief look at the life of Seymour Bernstein, but this intro is more than just a serviceable appetizer – it’s in fact chockfull of juicy material that will nourish those looking for more than just a beginner’s piano lesson.

Overall rating 4 out of 5

SEYMOUR: AN INTRODUCTION opens at Landmark’s Plaza Frontenac Cine on April 10

THE LONGEST RIDE – The Review

Okay multiplex maniacs, before we make a most welcome return visit to the Marvel Movie Universe, it’s time for that annual (sometimes semi-annual) slog into another movie universe, Sparks-land. I’m talking about another flick based on another product off the novel assembly line from Nicholas Sparks. Box office gold occurred with THE NOTEBOOK eleven (!) years ago and the studios have been returning with pick, shovel, and camera to that mine ever since. Just like cinema stars and franchises, he’s a brand name. It’s just a question of which familiar themes will be re-hashed and which photogenic actors will be put through some now familiar paces. But hey, we may get a surprise, although this one’s title seems more than a little daunting. Are you ready to embark on THE LONGEST RIDE?

This ride begins a year ago as professional bull rider Luke Collins (Scott Eastwood) attempts to spend eight seconds on the back of a most ill-tempered bull named “Rango”. As things take a turn for the worst, the story flashes forward to now as college gal Sophia (Britt Robertson) is practically scooped up by her sorority sisters to spend a sunny afternoon watching a bull riding competition. Of course one of the riders is Luke, and the two have a “meet cute” moment there and later at a “honky-tonk” saloon. Soon Sophia is dodging calls from him (she’s an art history major, he’s a bronk buster, so what’s the point?). Finally she relents and the two share a lovely picnic date. But on the road home, Luke spies a busted guard rail and pulls over. Down an embankment he sees a car on fire, crumpled against a tree. Luke pulls out the elderly driver, Ira (Alan Alda) who mumbles “Box” to Sophia. She spies an old wicker basket on the car floor and scoops it out just as the auto explodes in flame. As they sit in the hospital waiting room, she opens said box and reads an old letter. It tells of how young Ira (Jack Huston) met a beautiful European refugee named Ruth (Oona Chaplin) in 1940’s North Carolina. Later when they meet, Ira and Sophia immediately bond as she returns to visit him many times and reads the old letters aloud, letters that track his long love affair with Ruth. But what of Luke? Sophia’s got a gallery internship offer in NYC and he won’t leave the PBR circuit, despite health concerns from both her and his mother Kate (Lolita Davidovich)? Will these two kids have a romance as long-lasting as that of Ira and Ruth?

The cast member that seems to be the main focus of the flick’s publicity push is young Mr. Eastwood, part of several film dynasties oddly represented here. He’s an easy-going bit of “beefcake” eye candy for the ladies, a rugged, non-threatening paperback-cover version of a cowboy. His talents aren’t tested here besides some brief tension over his choice to continue on the bulls, so we’ll hopefully see how his dramatic chops shine in further films. He’s got a nice, easy rapport with Ms. Robertson, an actress mainly known for her extensive TV work, who will probably showcase her feature film skills in a few weeks with the highly anticipated TOMORROWLAND. Here she’s a convincing college student and is confident in her very adult sequences (she and Scott really steam up a shower). Plus she shines in those moments with screen and TV vet, the other Hawkeye, Mr. Alda. He does his best to slow down that rapid-fire, wise-cracking delivery that he’s honed over the decades, but he doesn’t seem near the ninety-plus years of his character. Still, the ole’ pro effortlessly projects a cozy warmth that elevates some of the hackneyed moments. Mr. Huston (of the John and Angelica dynasty) is believable as the younger version of Alda during the flashbacks, and he works very well with Ms. Chaplin (granddaughter of the first movie superstar), who radiates an intelligence which makes her infatuation with modern art almost infectious. Though they’ve little to do in their brief scenes, veteran leading ladies Davidovich and Gloria Rueben (as Sophia’s NYC mentor) are most welcome additions.

As for the film as a whole…well, the 1940’s fashions and cars look pretty sweet, bathed in an amber nostalgic glow. Director George Tillman, J. and screen adapter Craig Bolotin are giving this material their best efforts, but can’t make any headway against this stilted, stale story. Elements we’ve endured in other Sparks flicks rear their ugly heads once more here. I imagine Mr. S tossing magnetic-backed strips inscribed with phrases at a fridge and jotting down whatever sticks into the work. “Elderly man”… check! “Forties flashback”…check! “Old letter”..check! “Couple jumps into a body of water”…check! At least we’re spared the “child endangerment” scenes of SAFE HAVEN and THE LUCKY ONE. But we do get the most ridiculous auction scene in movie history, all to facilitate a feel-good finale. It’s nearly as ludicrous as the seal of approval from the American Humane Association during the final end credits. This was a love letter/infomercial for the PBR circuit! Really AHA? Fans of the author’s work will likely be satisfied with this adaptation with others dismissing it as a “chick flick”. Lovers of romance cinema really deserve better than this fluff. For any discerning film goer this tripe will indeed be THE LONGEST RIDE.

1.5 Out of 5

WHITE GOD – The Review

Review by Stephen Jones

Here’s a weird one. I’m not sure quite what I expected going into it, but it’s basically a late 70’s Animals Attack movie filtered through a bleak European art-house sensibility. Dogs by way of Au Hasard Balthazar. Or maybe Rise of the Planet of the Apes but with a little magical realism instead of science fiction drugs. I realize that using movie titles so much in the description might make it feel like a retread, but I promise you there is nothing else out there like this movie right now.

The story is simple, a girl goes to stay with her dad, her dog doesn’t fit in, so the dad dumps it. Much sadness ensues for both girl and dog. The final act is something I would normally refrain from talking about, but it’s pretty much the selling point of the film; the big revolt led by the girl’s dog against their oppressors. It’s well done, and I’ll go into it a bit, but the build up to it is arguably the more effective portion. It’s hard to show cruelty to dogs and NOT build sympathy, after all.

It’s actually not all slapping the dog around, though. The most horrifying segment involves the dog getting roped into a dog fighting circuit, yes, but there’s probably more cold treatment from adults in the girl’s life and the bureaucracy, which is actually a lot more frustrating. They were the portions that got to me the most. They were infuriating with the dog and just so frustrating for the girl trying to get him back. Then there’s the finale…

I won’t delve into too much detail – just because the trailers give the gist of what happens doesn’t mean there aren’t plenty of wonderful little details and moments to be found – but the movie does a pretty great job with the balancing act required for a climax like this. There’s catharsis on behalf of the dog, and MAN is it satisfying in a purely visceral way… but it isn’t just the dog’s story, and they do just as good a job portraying just how horrific it all actually is through the girl. I wanted the dog to get revenge, but seeing it through her perspective still sat heavily in my gut.

The whole final act hits the emotional beats it needs spot on, but… I don’t know, it lacks a bit of scale. It gets hyped up as the most dire situation the town has ever seen, but it never feels like more than a few dog attacks. Attacks by a MOB of dogs, yes, but never really anything on a level that justifies the response it gets. I don’t know specifically what could’ve been added to solve this, but it made everything not directly involving the girl and her dog feel just a little flat. That was disappointing when hitting those parts out of the park as well as the main two story portions would’ve made this really something special.

Although it still is sort of something special. Like I said, there’s nothing else out there right now like this movie. It’s not quite horror, not quite standard drama, little bit of revenge fantasy, but it never feels like it’s going for cheap catharsis. It’s in a nicely weird little zone of its own. If you see the trailer and it sparks your interest, I can at least say that the movie achieves the feeling the trailer promises, even in the aspects where it falls just a little short. It has some great segments where they get some very solid storytelling across with no dialogue (whoever trained the dogs in this did an amazing job), and the cinematography is outstanding, especially the film’s final shot.

WHITE GOD is the sort of weird curiosity that gets found on Netflix a couple years after its release and is passed around by friends who discover it. I won’t be surprised at all if in three years it places highly on a list of “best Netflix movies you haven’t seen.” That it’s actually getting enough of a release to be available in theaters here is wonderful, and I’d recommend checking it out.

4 of 5 Stars

WHITE GOD opens in St. Louis April 10th exclusively at Landmark’s Tivoli Theater

WHILE WE’RE YOUNG – The Review

WHILE WE’RE YOUNG is the latest film from writer/director Noah Baumbach (THE SQUID AND THE WHALE, GREENBERG, FRANCES HA). Like his previous work, it is a sharply written mix of comic moments and relatable themes – a Gen Xers vs Hipsters comedy that touches on career crisis, missed opportunities, the challenges of marriage, and the middle-age soul-searching that seems to coincide with the onset of back trouble and arthritis. It’s an excellent, smart comedy and is highly recommended.

Ben Stiller stars in WHILE WE’RE YOUNG as Josh Srebnick, a 44-year old filmmaker who’s been toiling away for a decade on his documentary, one structured around Ira Mandelstam (Peter Yarrow), an elderly intellectual. It’s a follow-up to Josh’s first film, a critical success many years earlier. Expected funding has not materialized, he’s unable to pay his patient editor (Matthew Maher), and he is loath to ask his father -in-law, legendary documentary filmmaker Leslie Breitbart (Charles Grodin) about to be honored by Lincoln Center, for help. Josh’s wife Cornelia (Naomi Watts) is a producer for her father’s films. The couple has tried for years to have a baby but suffered a string of miscarriages. Their best friends (Maria Dizia and Adam Horovitz) are caught up in the thrills of new parenthood, leaving Josh and Cornelia feeling unconnected with them and annoyed by their embrace of the “baby cult” and constant suggestions that having a baby is too important an experience miss. They’re stuck in a rut, but things brighten up one day when Josh meets aspiring filmmaker Jamie Massy (Adam Driver) and his wife Darby (Amanda Seyfried), who produces home-made organic ice cream. The 25-year-olds have sat in on Josh’s continuing education class on documentaries and Jamie gushes that Josh is his hero (he’d paid $60 for a VHS of his first film on eBay). This hip and exciting couple, young enough to be Josh and Cornelia’s kids, bring vigor and adventure into the lives of the two unsatisfied middle-agers who see the new friendship as a way to recapture their lost youth. Jamie and Darby have what Josh sees as a simplistic, more desirable lifestyle. They live for the moment, collect typewriters and vinyl LPs, watch THE HOWLING on VHS, and brag about voting for Romney. Jamie inspires Josh to buy a hat and to ride a bike, which sends him to the doctor with a hurt back while Darby introduces Cornelia to the art of hip-hop dancersize. In one of the film’s funniest sequences, the foursome attends a shaman’s ayahuasca ceremony where they ingest a purple brew that makes them hallucinate, make out, and puke. When Jamie asks Josh for help with his own documentary, he’s initially glad to help but it’s soon revealed that Jamie isn’t quiet the innocent admirer he appears to be.

While WHILE WE’RE YOUNG is at its best when it’s satirizing the differences between the two generations, Baumbach offers much more than just characterization. He tells a great story, one with twists and turns and unexpected conflict and I was surprised by the poignant and moving direction the film took toward the end. To bring his screenplay to life, Baumbach draws terrific performances from his entire cast. Watts, Driver, and Seyfried all provide wonderfully drawn characters, but the film belongs to Ben Stiller. Clearly written with the actor in mind, Josh is something of a stubborn, self-obsessed jerk, but one we always care about. Stiller inspires identification without ever evoking sympathy. One of the best scenes is when Josh meets with a wealthy hedge fund manager who wants to invest in docs. Watching Stiller flounder while failing to explain his film in simple and understandable terms is awkward and hilarious, adjectives that well- describe WHILE WE’RE YOUNG, one of the best films so far this year.

5 of 5 Stars

WHILE WE’RE YOUNG opens in St. Louis April 10th only at Landmark’s Plaza Frontenac Theater and The Hi-Pointe Theater

MERCHANTS OF DOUBT – The Review

In order to cover every big story, the big 24 hour cable news networks need to find experts to debate and discuss this bit of information. This is most often presented in the now standard split screen format with opposing takes to the story, now viewable side by side (sometimes the host or anchor will take up a third portion of the screen). Split screens are almost always used when another report or study is released that concerns climate change or global warming. On one side a researcher or scientist (former staple of kids’ programming Bill Nye “the Science Guy” has now become a news staple) explains the findings while a representative from some organization (“Citizens for…”, “The …Foundation, etc.) dismisses it with the popular mantra “not all the studies are in…”. But, just who are these naysayers, and what are these groups they speak for? Science historians Naomi Oreskes and Erik M. Conway tried to answer these questions in a 2010 book, which inspired the new documentary from director Robert Kenner (FOOD, INC.) and co-screenwriter Kim Roberts, MERCHANTS OF DOUBT.

Oddly, the film really begins over sixty years ago, with a subject fairly far removed from current controversies: the link between tobacco use and cancer. The big cigarette producers were in a quandary. How could they refute the surgeon general’s report? To paraphrase Don Draper from TV’s “Mad Men”, “If you don’t like what they’re saying, change the conversation.”. Public relation firms were hired (the film makers present all the memos and letters), with “experts” casting doubt (hence the title) on the findings, even equated smoking restrictions as an attack on personal freedoms. Two Chicago newspaper reporters were able to connect the dots from tobacco to laws requiring often toxic non-flammable cushions in furniture and bedding. The most compelling sequence concerns a doctor speaking before different committees (always boasting of praise from the Dali Llama) relating the story of a baby’s death in a crib fire, a story he admits was fabricated. These became lessons learned and adapted by “big energy” when stories of climate change began popping up in the early 1980’s (with footage of presidents Reagan and Bush the first addressing “the greenhouse effect”).

This subject comprises most of the film’s running time and features its best sequences. And interviewees. We’re introduced to, perhaps, the film’s real hero: James Hansen, a scientist ringing the alarm concerning global warming for the last several decades. We see how the fight has taken a toll on him over the years while many others have taken up the cause. Unfortunately he and the other researchers aren’t “camara friendly”, and are shouted down by the slick PR flacks and lobbyists, armed with dissenting opinions. But who are they? Many of these institutes and foundations are headed by the developers of the atomic bomb, actual rocket scientists. Seems that they’re fiercely anti-communists and believe that anything critical of big business is un-American, even calling environmentalists “watermelons” (green on the outside, red on the inside). The most compelling naysayer, and the Moriarty to Hansen’s Holmes, may be Marc Morano, an internet agitator, who sees nothing wrong in making Hansen and his colleagues’ private email addresses public and is “shocked” that they would be bombarded with death threats (he thinks himself “witty”). Thankfully there are conversion stories, such as the head of Skeptics magazine along with former GOP congressman from South Carolina Bob Inglis who broke with his party over climate change (hence former), and who continues to spread the warning to those refusing to listen.

Kenner keeps the film moving along at a brisk pace, employing animation against a file storing warehouse that resembles the final moments of RAIDERS OF THE LOST ARK with folders displaying some often unbelievable missives and memos. And there’s the clips, the archival footage of Rush, Glen Beck, and the ole’ Fox News gang. The best ones go even further back when Morton Downey, Jr., on his old nightly screamfest, berating anti-smoking researcher Stanton Glantz with “I smoke three packs a day and look a helluva’ lot better than you!”. Glantz certainly looks better than him now (Mort took his last puff in 2001). MERCHANTS OF DOUBT is informative, entertaining, compelling, funny and infuriating. Most importantly, it’s an indictment against those cable channels for being too quick to give these “experts’ airtime (do your research!) And it should be required viewing for history and political students everywhere. You’ll never watch the news quite the same way again.

4 Out of 5

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

THE HARVEST (2013) – The Review

At one time or another, we’ve all felt we’ve had the worst parents in the world. We have our reasons, but watch THE HARVEST (2013) and you’ll quickly reevaluate your thinking. The question arises… what is a child’s life worth and how far will you go to save that life when certain death rears its unfriendly head?

THE HARVEST tells the story of a seriously ill boy named Andrew, bed-ridden and bored out of his mind. He’s not allowed to leave the house, play baseball, have friends or go to school, and is barely allowed to leave his room. Andrew, played by Charlie Tahan, is weak and can barely stand on his own, but he still has desires just like any boy his age. These desire have been successfully subdued by his over-protective, borderline psychotic mother Katherine, played by Samantha Morton. Then a misunderstood, rebellious girl his age named Maryann moves into her grandparents’ house nearby and changes everything.

Maryann, played by Natasha Calis, doesn’t waste any time exploring and looking for some way to entertain herself in this secluded area, tucked away in the woods. This is how she happens upon Andrew’s house where the two quickly develop an awkward but empathetic friendship of kindred spirits. For the first time, Andrew actually appears to be experiencing some level of happiness, that is of course, until Katherine discovers the existence of Maryann, which had prior been kept a secret.

THE HARVEST is set almost entirely inside or in the immediate vicinity of Andrew’s home. What Andrew’s house may lack in physical size, it more than compensates with the size and severity of its secrets. With Andrew basically confined to his bed in his room, the house is essentially a prison. Katherine, a medical doctor by profession, is obsessed with curing her son’s ailment at any and all costs, which serves as her prison. Andrew’s father Richard, played by Michael Shannon, is also a prisoner, but his confinement is his hopelessly lost marriage to his mentally unstable wife Katherine.

Written by first-timer Stephen Lancellotti, THE HARVEST is a passionate film steeped in fear, guilt and lies kept by every major player in the film. The emotional scale of the film tilts heavily toward the darker, unsavory elements of humanity. Despite this, Lancellotti’s strong, well-written characters hold the otherwise excessively depraved nature of the story together, keeping Andrew’s world from crumbling around him until the very end. This is most clearly illustrated in Michael Shannon’s surprisingly subdued performance as Richard, a man so beaten-down by his wife’s insistence on being a controlling emotional mess, that he can often barely speak or move in her presence.

Richard is not a coward, but he is weak. Having left his career to stay home and take care of Andrew while Katherine works, he has but a single purpose that drains his very essence, and yet Katherine will not even allow him to fully embrace this role. Other weaknesses of Richard’s emerge in the film, but they all tie back into his desire to do right by his son, however he must. Sadly, that often means protecting and supporting Andrew against his mother’s abrasive, even violent behavior spawned from a truly demented sense of ensuring her’s son’s well-being.

Samantha Morton delivers a performance so absolutely frightening that the concept alone of their being a real life Katherine out in the world somewhere alone sends chills down my spine. On the most primal, stripped down level, her heart is in the right place, but the manner and methods by which she pursues saving her son’s life are so utterly deplorable that virtually every moment she is on screen is cringe-worthy. Consider Kathy Bates’ performance as Annie Wilkes in MISERY (1990) and then notch that sucker up to 11 on the bone-tingling terror scale.

Andrew’s helplessness is made convincing by Charlie Tahan’s performance, not just in the physically demanding nature of the role requiring him to appear weak and broken, but in his emotional state and virtually non-existent level of energy. In pulling this off, Tahan only increases the next-level insanity that emerges from Morton’s performance. Meanwhile, Natasha Calis is perhaps the most normal and well-rounded character in the film, despite her own demons, which are relatively minor in comparison to Andrew’s. Finally, for good measure, McNaughton throws a familiar seasoned favorite in the mix with Peter Fonda playing Maryann’s grandfather. While his role is rather small, he does provide a crucial line of dialogue in the film that, for Maryann, serves as the equivalent of Uncle Ben telling Peter Parker “with great power comes great responsibility.”

John McNaughton is a filmmaker of notable cult status, but many of you reading this are scratching your heads, I am sure. Having made his mark early in his career, McNaughton is best known to true horror movie aficionados for HENRY: PORTRAIT OF A SERIAL KILLER (1986), his debut film that also introduced Michael Rooker to movie audiences, who is now something of a household name amongst The Walking Dead fans.

Well-known for the gritty, faux-documentary style of his feature film debut about what makes a killer, McNaughton takes a sizable step away from that visual style. The film still has a hint of that voyeuristic element, but its subtle and will go mostly unnoticed. I realize how strange this will sound, but THE HARVEST actually conveys more of a prime time Hallmark family movie night vibe to its visual style, with its contemporary, shot-on-digital video looking, real life drama sort of stuff, that actually adds to the creepiness of what takes place.

McNaughton is no stranger to delving into projects that develop as much controversy as they do cult following, such as MAD DOG AND GLORY (1993) and WILD THINGS (1998). I feel this will not be an exception to that rule and I am certainly grateful for McNaughton sticking to his guns. I will end with this… if you are not even a little bit afraid of Samantha Morton after seeing this film, please do me a favor and never introduce me to your mother.

THE HARVEST opened in New York on April 10 and is available on VOD now.

The film opens in Los Angeles this Friday, April 24th at the Arena Cinema in Hollywood.

Overall Rating: 4 out of 5 stars

WOMAN IN GOLD – The Review

Only a week after the sufferings of EFFIE GRAY, another “inspired by true events” drama set in the world of art (specifically paintings) makes its way to the multiplex. The two are quite different, though, with this new film set more than nearly 150 years after that romance gone sour. But this recent release has several flashback scenes some sixty years in the past, during the Second World War. And much of the dramatic highlights take place, not in lush estates, but in boardrooms and courtrooms. So, it’s a WWII thriller and a legal showdown pitting a plucky, feisty mature lady represented by an overwhelmed young lawyer versus an uncaring, unfeeling bureaucracy. Now with Helen Mirren as the lady and Ryan Reynolds as her aide, you know we’re in for a meaty drama indeed as they seek the return of that most celebrated Austrian artwork, the WOMAN IN GOLD.

Maria Altman (Mirren) is a widow well past her retirement age, who still runs a small clothing shop in LA in 1998. Newspaper articles about a special display of Gustav Klimt’s work spurs her memories of growing up in a wealthy affluent household in 1930’s Vienna. After a family funeral service, she speaks with a distant relative, Mrs. Schoenberg (Frances Fisher) and inquires about her lawyer son. Randol (Reynolds) who has just joined a big, prestigious law firm, after his own private practice folded. He and his wife Pam (Katie Holmes) are anxious about the new gig, but after getting pressure from mom, he agrees to meet with Maria. He’s stunned when she informs him that Klimt’s most famous work, “The Woman in Gold”, is a portrait of her beloved aunt. It was taken from their family home during the Nazi occupation. And since she’s the last living relative, can she get the pieces (along with some others) back from the Austrian government? Luckily Randol convinces his new boss (Charles Dance) to take on the case (the work is worth well over a 100 million dollars). But both Randol and Maria will have to go to Austria to get their case heard. She’s reluctant, but they make the trek and are greeted by a helpful magazine reporter, Hubertus (Daniel Bruhl), who guides them to the old records and files. The government officials dismiss the two, and all seems to be lost. Time passes, and Randol’s stop at a LA chain bookstore reminds him of an obscure court decision. There’s still a chance if he can convince Maria to take up the fight once more, a fight that will eventually send them to the United States Supreme Court.

GOLD is essential viewing for fans of the always compelling Mirren. As with many recent roles, her Maria will not suffer fools. When we meet her, she’s feisty and witty, with retorts that cut to the quick, particularly in her first encounters with Randol (this young man will not dissuade her). It’s when she must return to her homeland and confront the ghosts, that Mirren shows us Maria’s vulnerability. She’s haunted as each familiar street and building dredges up painful memories and traumas. But she keeps going, trying to quelch her thirst for justice. When she’s thwarted in the old country, it’s Randol that must now be the inspiration and rekindle that flame. Reynolds is definitely out of his comfort zone in this role. Although an attempt is made to “de-hunk-ify” him via makeup, wardrobe, and hair styling, often his leading man charisma and charm break through. Still, he acquits himself well in this change of pace character, especially as Randol embraces his heritage including the horrors his family endured. Bruhl also makes an impression as another seeker of truth, perhaps trying to compensate for the sins of his countrymen. Holmes is a warm supporter for Reynolds, as she tries to be his “rock’ back in the states. There’s more outstanding work from Tatiana Maslany, best known for her lead role on TV’s “Orphan Black”, as Mariah in the late 1930’s who makes some very tough decisions along with Max Irons as her opera singer hubby Fritz. Maslany compliments Mirren nicely, bringing another aspect of Maria’s life. Dance is a superbly intimidating boss, while Elizabeth McGovern and Jonathan Price bring the right amount of gravitas to their very different judicial roles.

Director Simon Curtis makes a confident transition from his many TV projects to this feature film. He gets wonderful performances from this great cast and never lets the audiences get mired in legal minutia, thanks mainly to the screenplay by Alexi Kaye Campbell. The location cinematography of Austria is lovely, but never detracts from the horrors of occupation in the many flashback sequences. And the art is stunning, also, with a glimpse of Klimt applying the colors to the film’s title painting. We’ve seen several recent films concerning the Nazi occupation, but these scenes still pack a wallop as several of Maria’s neighbors seem to delight in aiding the invaders. Yes WOMAN IN GOLD concerns a celebrated work of art, but it’s also about two inspiring lives also worthy of celebration.

3.5 Out of 5

BLACK SOULS – The Review

Like many genre films, the category of mafia films is often branded with certain expectations. Granted, not all of these films are created equal, but we generally expect to see lots of violence and/or lots of foul language and Hollywood stereotypes. Where BLACK SOULS succeeds is in refusing such stereotypes and telling a richly deep story about an unconventional “family business” that conjures up the essence of THE GODFATHER but distances itself even further from the genre stereotypes than just about any film we’ve seen in recent years.

Director Francesco Munzi’s BLACK SOULS (“Anime nere” in Italian) maintains a nearly unprecedented level of dignity for its type. The film tells the story of three brothers closely connected to N’drangheta, a mafia-like criminal organization based out of Calabria. These three brothers, sons of a shepherd, have differing views on their relationships with N’drangheta, which plays a crucial role in the telling of their reluctantly interconnected lives.

Rocco (played by Peppino Mazzotta) is a quiet, well-mannered man of means. Rocco is the most successful of the three brother, business-minded and methodical, but seems cautious in his relationship with N’drangheta business and how he conducts himself. Rocco has a nice, big house, a beautiful wife and is the picture of a comfortable, low-key life in this Italian underworld.

Luigi (played by Marco Leonardi) is the brother most typical of what we imagine in an Italian mobster. Watching Leonardi play Luigi is akin to watching Ray Liotta immortalize Henry Hill in Scorcese’s GOODFELLAS. Luigi is proud of his life and his affiliation as a gangster. He’s not stupid. He doesn’t make poor decisions because of this, but he does wear it on his sleeve. This subtle mix of machismo and bravado convey a confidence that makes Luigi likable, but also dangerous.

Luciano (played by Fabrizio Ferracane) is the eldest brother. He is also the brother with the least interest in the N’drangheta but with the most at stake. Luciano has taken up their father’s legacy as a shepherd, shunning the N’drangheta life as much as he can, but living amidst it and having family ties makes completely disowning the notion an exercise in futility. Pasqualle (played by Vito Facciolla) is currently the “don” in control of power, but is far from friendly with the brother’s criminal family.

When Luciano’s son Leo (played by Giuseppe Fumo) shows an interest in N’drangheta, Luciano attempts to lead him away from danger, but Leo has no interest in farm life and Luciano instead pushes him away. Leo leaves home to spend time with his uncle Luigi, whom he idolizes, and stays with Rocco and his family in Milan. While Rocco is reluctant to officially introduce Leo to the family business, Luigi has no reservations and casually supports Leo’s efforts to wiggle his ways into the family’s affairs.

Leo is drawn to the N’drangheta life like a moth to a light. He looks at the life his father and grandfather led and sees nothing but a prison and has no intent on being shackled to that kind of tradition. Fumo captures the quintessential youthful ignorance associated with being blinded by a desire for fame, fortune and ill-gotten respect. He allows his curiosity to ferment into arrogance and entitlement, like a young Jedi being seduced and corrupted by the dark side of the force.

Ferracane’s restrained emotional performance is undoubtedly the marquee strength of BLACK SOULS. Luciano is clearly distraught by his son’s ambitious intentions, and bitter about his history and current connection with the N’drangheta, despite his efforts to break clean. Ferracane bottles up this anger and disdain, leading to a highly physical performance. Dialogue plays a secondary role to Ferracane’s body language and facial expression of emotions. This plays beautifully into Munzi’s film.

BLACK SOULS is similarly paced with the racing of turtles, intentionally, and is a surprisingly quiet film. Dialogue is sparse and enjoys long stretches of near silence, perhaps further conveying the underlying theme of loss and mourning, both literal and analogous in nature. A great deal of the character interaction is made through eye contact and gestural interpretation. There’s more to these characters than meets the eye, and their stories go deeper than we, as outsiders, can fully understand.

Despite the slow and silent nature of the film’s structure, BLACK SOULS is a fantastically engrossing portrait of conflicting obligations. Gorgeously photographed and accompanied by a thematically appropriate score by Giuliano Taviani, BLACK SOULS is a sensory pleasure wrapped around an emotionally complex tale of torn souls.

BLACK SOULS (“Anime nere”) opens in New York on Friday, April 10th, 2015, with a nationwide release to follow.

Overall rating: 4 out of 5 stars

UNFRIENDED is in theaters April 17

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Disneynature’s MONKEY KINGDOM swings into theaters April 17

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Overall Rating: 4 out of 5 stars

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Overall Rating: 4 out of 5 stars

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