Review – Page 221 – We Are Movie Geeks

LITTLE BOY – The Review

So, what’s the cure for overloading on the all-depressing news (now bombarding you with 24-hour cable channels along with the “interweb”)? Well, a time machine would be great. Imagine pulling the lever on Rod Taylor’s 1960 model or Doc Brown’s DeLorean-based 1985 sweet ride (thirty years, can’t be!). Too bad they don’t exist, but buying a ticket at the multiplex can whisk you away for a couple of hours or so, right? The feel-good nostalgia flick has become almost as popular a genre as the haunted house spook show or the sports “underdog” story. The 1940’s have proved a most popular destination for, well over forty years (remember SUMMER OF 42 back in 71′?). It’s been the setting for a very recent Oscar winner, THE IMITATION GAME, and even a big superhero blockbuster with CAPTAIN AMERICA: THE WINTER SOLDIER. Hey, we just visited it two weeks ago in the flashback subplot of THE LONGEST RIDE. So, it’s time again to polish up those big sedans, slick back your hair, and take a very sentimental journey alongside LITTLE BOY.

The warm, folksy narrator introduces us to the sleepy coastal town of O’Hara, CA circa 1940, home of the Busbees. The voice belongs to the youngest member of said family Pepper (Jakob Salvati), a pre-teen whose growth pattern seems to have stalled out at just over three feet, earning him the derogatory moniker (the most genteel nickname of many) of “Little Boy”. Happily he forms a close bond with his poppa (Michael Rappaport), the owner operator of the local garage along with his college age son London (David Henri), and the two share a love of fantasy and adventure, particularly the exploits of real-life magician and star of comic books and movie serials Ben-Eagle (Ben Chaplin). Real world events intrude on their idyllic life when the US enters World War II. To his great frustration, London is labeled 4-F and rejected for service (darn flat feet!) and the elder Busbee is called up. Pepper is devastated, but tries to be strong for his mother (Emily Watson). And then a military rep delivers bombshell news: Poppa is missing after a battle on an Axis-held Pacific island. Is he captured, or….? Pepper’s spirits are lifted by a live appearance of Ben-Eagle at the local movie house. After joining his hero on stage, Pepper believes he has the power to move objects with his mind. But offstage, back home, the gift is gone. After hearing a sermon about how “faith can move mountains”, Pepper implores his priest, Father Oliver (Tom Wilkinson) to help him strengthen his faith. The padre produces a pre-printed list of good works and deeds such as “Feed the hungry” and jots down an addition, “Befriend Hashimoto”. This refers to a widowed Japanese-American middle-aged man (Cary Hiroyuki Tagawa) who has been harassed and shunned by the locals after the Pearl Harbor bombing. And so, Pepper begins to check off the list in hopes of ending the war and reuniting with his beloved father.

This tale is told mostly through the eyes of its title character. Happily the film makers were fortunate to find Salvati, who brings a sweet,wide-eyed innocence to Pepper Busbee without resorting to heavy-handed mugging or histrionics (a scene of loss in the final minutes veers close, but it may be those behind the camera more at fault). It’s easy to root for the fella’, even as he gets off on the wrong foot with Hashimoto (the old “it takes a village”). Henri handles the more complex role of the oldest sibling with more subtlety than the script provides. His anger and guilt often come to a boiling point as he struggles to do what he thinks is required as the man of the house. We can see the questioning in his eyes as he’s nudged into violence by Ted Levine (yup, Buffalo Bill himself) as town elder Sam who seethes with rage that masks his heartbreak. As for the other screen vets, Rappaport projects a real tenderness as the ultimate doting daddy, while Watson has much of that same warmth, tempered with a steely determination to keep the home fires burning and present a stoic facade as she is consumed with concern over the fate of her spouse. Pepper’s even got a couple of surrogate grandpas’ in Father Oliver and Hashimoto. Wilkinson is a kindly taskmaster, who hopes to inspire the lad, who in turn may be an example to the town. Tagawa is another teacher for the boy who helps ease the pain of family loss for the elder. We can see the twinkle in his eyes at Pepper’s antics. And speaking of antics, Kevin James (he’s next door at the multiplex as that “mall cop”), provides some laughs as the town MD, Dr. Fox no less, who makes clumsy passes at Momma B while his hulking son leads the pack of Pepper’s grade school tormentors.

A leisurely pace is maintained through most of the story by director Alejandro Monteverde with O’Hare seeming to be Mayberry-by-the-sea that’s filled with lovable eccentrics in often kooky vintage attire (wild hats for everybody!). The art directors work hard to establish the period, even recreating Norman Rockwell imagery (but the films listed on the town theatre marquee do bounce between current and dated). But the place isn’t all “sweetness and light” thanks to the script (from the director and Pepe Portillo). Intolerance does raise its ugly head with most of the town treating Hashimoto as a pariah (Pepper even sees a propaganda cartoon). Still, the script does seem to meander, often lurching from the big conflict scene to gag to heart-tugger making the feature resemble a “Hallmark-style” straight to cable TV movie. As mentioned earlier, the film pummels at the heart-strings in its last moments as Pepper deals with loss in a sequence that feels as though it will never end. It’s not helped by a music score that telegraphs every emotion. The film’s being marketed to “faith-based” audiences, so some of the views espoused by Hashimoto are a tad surprising as he’s always sympathetic. But even with the bits of bigotry, the film’s tone is too syrupy with a finale that seems contrived and unsatisfying. The target audiences will no doubt find the movie’s message soothing, but discerning viewers may tire of the lazy gooey charms of LITTLE BOY.

2 Out of 4

THE AGE OF ADALINE – The review

What would you do if life stood still? Now I’m not talking about the world continually frozen, like a projector stuck on one frame of film (maybe a better modern analogy would be a DVD unable to move past an image, perhaps with that annoying “buffer circle” spinning). I mean what if you, yourself, never changed and remained your current age forever. No wrinkles, no grey hairs, and no internal breakdowns (the plumbing works fine, muscles and joints in great shape). That’s been one of the major benefits of vampirism (like the eternal ten-year old Kirsten Dunst in INTERVIEW WITH THE VAMPIRE), a theme of fairy tales (SLEEPING BEAUTY), and science fiction (THE MAN WHO CHEATED DEATH, the COCOON flicks). Now comes a film that plays with that notion in a more modern, realistic fashion. Call it a modern romantic fable, or the ultimate May-December love story. Or you might just call most of the 20th century (and a good chunk of the early 21st) THE AGE OF ADALINE.

A somber narrator introduces us to Jenny (Blake Lively), a modern-day twenty-something running an important errand on this New Year’s Eve of 2014 in San Francisco. She’s paying a young computer hacker (in cash, of course) for an impeccable set of phony ID’s (passport, driver’s licence, etc.) that Jenny will use when she leaves town and starts over once more. Wha? But first, it’s off to her job , as a historian archiving research materials at the main library. As she threads some early news film into a 16mm projector (see the previous reference), the narrator returns to give us some info on Ms Jenny. For one thing, her name is actually Adaline Bowman and she was born in SF…in 1908! In the early 30’s she married one of the Golden Gate Bridge engineers and birthed a daughter, Flemming. After her husband’s death on the job, Adaline’s cruising down a lonely stretch of California country road when it suddenly begins to snow. This contributes to the skid that sends her roadster plummeting into a cold lake. Hypothermia leads to heart stoppage, but remarkably she is revived when the sinking car is struck by lightning. But the bolt has an unexpected side effect, Adaline never ages a day. As Flemming matures, Adaline passes her off as a kid sister. It looks like the ruse will work until federal agents attempt to whisk her away (for experiments, no doubt). After a narrow escape, mother and daughter must separate, as Adaline goes into hiding, changing her identity every ten years, but still keeping in secret contact with Flemming. So, that explains the errand.

That night, after a quick phone call with Flemming (Ellen Burstyn) who now goes by Jenny’s grandma’, Adaline reluctantly joins a friend for a New Year’s bash at a local swanky hotel. She successfully swats away suitors, until he walks in, the hunky Ellis Jones (Michiel Huisman). After a flirtatious elevator ride to the lobby, Adaline believes she has given him the big “brush off”. But Mr. Jones is not so easily thwarted. A few days later, she’s stunned when Ellis arrives at her job with a big donation to the facility (guy’s rich!). This begins a series of tentative romantic encounters that make Adaline anxious. Reluctantly she agrees to accompany Ellis to a big 40th anniversary celebration for his parents (Harrison Ford, Kathy Baker). But on this journey, Adaline’s past may finally catch up to her.

Ms. Lively rarely evokes her name as the film’s title heroine. Adaline is muted, very low energy, perhaps in order to blend into her surroundings as to not stand out (and she avoids being photographed which reminded me of Bill Bixby as the TV Hulk). This is prominent in her push/pull relationship with Ellis which extinguishes any sparks between the two. She does look fabulous in all the different hairstyles and fashions during the flashbacks, but besides her fugitive double life, Adaline is an enigma. Huisman fulfills all his leading man requirements (including the now obligatory “chick flick” staple of emerging dripping wet from the shower AKA the “beefcake” shot), but we see his passion for Jenny/Adaline without really explaining it. This guy should have a thick “black book”, so why has he set his sights on the woman who often pushes him away (maybe he enjoys a “challenge”). Burstyn makes Blessing more of a supportive girlfriend than daughter (think Rhoda Morgenstern) often encouraging Mom to “go with it” and take a chance. And she’s a good sounding board and confident for the usually tight-lipped Adaline. Ford takes a detour from his recent run of “old grumps” to give us a man both content with his golden years while still more than a bit haunted by his past (that silver goatee helps pad his years). In a couple of flashbacks, his character is played by you tube star Anthony Ingrub whose impression of the screen icon often distractingly veers into “Rich Little-like” mimicry. Unfortunately Baker has little to do as the perplexed, annoyed matriarch.

Lee Toland Krieger’s direction has difficulty keeping up a consistent momentum, which may leave viewers to feel as though they’ve lived all of 107 years. The early century set-up is fascinating, but the drama gets too bogged down by the narration (maybe they should have heeded the anti-voiceover rants in BEING JOHN MALKOVICH), that uses some silly pseudoscientific “gobbledy goop” to explain Adaline’s plight/gift. That’s another reason why the script by J. Mills Goodloe and Salvadore Paskowitz should have gone through a couple more passes. Some unnecessary flashbacks slow the pace (a visit to the bank brings up a memory, as does a glance at a certain park bench) There’s too much dead time during which we ponder the story’s logic. How could Adaline escape the FBI so easily? Why then would she continue to live in the states? Did J Edgar’s men concentrate instead on Dick Clark (he looked 25 for many, many decades)? As the film finally plods to its conclusion, a couple of outrageous coincidences almost prove laughable (I heard a few titters). THE AGE OF ADALINE could have been a compelling journey with one unchanging lady through the eras, instead it’s part tepid love story and part modern “fractured fairy tale”.

2 Out of 5

RESCHEDULED! – TAB HUNTER CONFIDENTIAL – The QFest St. Louis Review

TAB HUNTER CONFIDENTIAL now screens Monday, April 27th at 7pm at Landmark’s Tivoli Theater (6350 Delmar) as part of this year’s QFest St. Louis. For ticket information, go HERE

Hollywood can destroy people. For every survivor of the Hollywood system, whether from years ago or any current actors, there are dozens of actors and other artists who crashed and burned, had serious substance abuse issues, committed suicide or never made it at all.

Just from memory I can name Barbara Payton, Jayne Mansfield, Jeanne Eagles, Marilyn Monroe, James Dean, Diana Sands and Montgomery Clift. For a complete rundown you can’t do much better than Kenneth Anger’s incredible book Hollywood Babylon and it’s even more depressing sequel Hollywood Babylon Part Two. Vincent Price called Hollywood “the most evil place on Earth!” And Vincent Price would know something about evil!

A few short years ago I read Tab Hunter: Confidential co-written by Tab Hunter and Eddie Muller and found it fascinating, informative and literally could not put it down until I read the whole book. Now comes an even more fascinating and informative documentary about one of the biggest stars in Hollywood history who was also one of its most closeted gay actors.

Tab Hunter: Confidential begins with the man himself recalling his arrest in early 50s Hollywood for being at a “gay” party. Keep in mind this was so long ago, no one there was having sex, the mere fact that everyone there was male automatically red flagged the party as “queer.” That arrest came back to haunt Tab Hunter in a few short years when the story was published in Confidential Magazine, a once notorious scandal sheet. The film then segues into a brilliantly edited montage of appearances on 1950s television by Tab Hunter, ending with him looking directly into the camera and stating “I’m Tab Hunter, and I’ve Got a Secret!” Man did he ever!

We hear quite a lot from Tab Hunter himself, still amazingly handsome, still boyish in his 80s and very articulate. His real name is Art Gailene, he grew up with no Father, idolized his brother and dreamed of movie stardom. He also drove girls crazy at a very early age. We also hear from many actors who knew and worked with him and knew what kind of ordeal he endured under the Hollywood system. Robert Wagner, Connie Stevens, Debbie Reynolds, Daryl Hickman and Portia De Rossi all tell about their relationship with Tab Hunter, then and now.

We also hear from John Waters who seems to appear in every documentary made these days. Waters actually got to work with Tab Hunter in the incredible Polyester (which came with a scratch and sniff card at theatrical showings so the audience could smell what the cast of the movie could smell at certain points. But I digress…)

We also hear from George Takei, himself the subject of a wonderful documentary and also a gay actor who not only recently came out but married his long time partner. In fact Takei’s documentary and Tab Hunter Confidential would make an excellent double feature.

We learn just about everything there is to know about Tab Hunter. He admits in the new footage that he is now “an old man” and doesn’t give a damn what anybody thinks about his life style. In the 50s and 60s a gay lifestyle could easily destroy a Hollywood career (or a career in insurance or accounting for that matter.) Tab Hunter was represented by an infamous Hollywood agent, Henry Wilson, who handled “all the pretty boys” according to Don Murray and gave them hyper masculine names, Rock Hudson, Guy Madison, Clint Walker and Tab Hunter. As Tab Hunter recalls he was, “thrown under the bus” when Confidential Magazine was ready to tell the truth on Rock Hudson. Hudson being the bigger star at that time Hunter was the sacrificial goat.

We learn all too well the pain of being made into an “image” for public consumption and the real life that had to be lived in secret. And we also learn the struggle of a “pretty boy” trying so hard to prove himself as a capable, professional actor. And Hunter did that, on live television, which he grew to love, and in an obscure western called Gunman’s Walk, wherein he convincingly played a total psychopath with a loaded gun.

Amazingly that story in Confidential was only a minor blip on Tab Hunter’s resume. He kept working in movies, both major and minor, until the movie going public came to think of him as an old fashioned, Eisenhower era pretty boy and not much else.

We learn about his relationships with other closeted gay actors, most famously Anthony Perkins. Now there is a couple for the history books, the All American Boy Next Door and Norman Bates! Perkins ended up marrying and having children. Perkins also betrayed Tab Hunter in true Hollywood style by stealing the part of Jimmy Piersall in Fear Strikes Out away from Tab Hunter who had played the part on stage and wanted it for his own film project at Warner Brothers. Tab Hunter seems to never have forgiven Perkins for that.

Hunter admits he did have a major crush on Etchika Choureau and actually talked marriage with her. She was his costar in Lafayette Escadrille and to this day speaks no English. She admits that she told Tab that his orientation was no big deal, but that she did not want to be “the beard” in a Hollywood marriage.

Hunter was so popular in the 50s that Warner Brothers got him on television as much as possible. He was talked into recording a song for Dot records, Young Love, which became a major hit and earned him the ire of Jack Warner himself who told him that Warner Brothers owned everything he did. Hunter had to point out that Warner Brothers had no recording department, which led to the creation of Warner Brothers records.

Hunter’s music recordings were not a novelty, his records sold in the millions and he was considered the equal of Elvis and Pat Boone! He worked extensively in television, live, on film and videotape. He also did a lot of stage acting and was always working to perfect his craft. When his movie career bottomed out he became a staple on the dinner theater circuit. I can recall him appearing at a dinner theater in St. Louis during the 1980s. In fact he was on the road so much and working so hard in dinner theater he had a heart attack and had to give it up.

Early in his life Hunter became enamored of horseback riding and continues to ride horses to this day. From Clint Eastwood, a major western icon himself, we hear that Tab Hunter is “a better man than me, I will not mess with an animal that weighs almost a thousand pounds and has the brain the size of a walnut, not at my age!”

And of course his association with John Waters and Polyester is covered and Hunter’s favorite project from his later career, Lust in the Dust. We hear from Lainie Kazan regarding her working with Tab on that western spoof, she admits that for her it was a dream come true to do a love scene with Tab and she doesn’t give a damn about his lifestyle!

Now in his golden years Tab Hunter is happy with his long time partner Allan Glaser, who also was a producer on this excellent documentary. Painfully honest, thorough, very well edited and shot Tab Hunter Confidential is many things all at once, a look back at Hollywood history, an examination of what “stardom” really entails, a meditation on identity, a history of what it means to live your life in secret and how much attitudes towards gay people have changed in this country (and how much farther we have to go, judging by many of the letters to the editors regarding same sex marriage).

Anyone with any interest in Hollywood history, the gay lifestyle or just likes to hear the story of an interesting person’s life, especially a survivor of Tab Hunter’s magnitude, really ought to spend some time with Tab Hunter Confidential. I have watched it three times now and may go and watch it again. Because I am off this page!

TAB HUNTER CONFIDENTIAL – The QFest St. Louis Review

TAB HUNTER CONFIDENTIAL screens Monday, April 20th at 7pm at Landmark’s Tivoli Theater (6350 Delmar) as part if this year’s QFest St. Louis. For ticket information, go HERE

TFF 2015 Daily Recap: April 17th

“Live from New York, it’s the Tribeca Film Festival.”

I’m sure that is how some people’s coverage of this year’s TFF started off. It makes sense considering the opening night film was a documentary about Saturday Night Live! Plus, some writers can’t help but resort to puns and cheap gimmicks to appear witty. Hell, I used it and haven’t even seen the film yet. But my TriBeCa experience didn’t start off with belly laughs. Instead it began with a double feature of films about shitty parents.

THE ADDERALL DIARIES stars James Franco as an author struggling with writer’s block, which could be the inspiration for my deconstruction of an opening to this recap. The film is based on the memoir of the same title by Stephen Elliott. Franco’s version of Elliott deals with drug addiction (mostly Adderall), a BDSM fetish that could ruin a burgeoning relationship, and a haunting past retold through fractured memories. The acting is solid but the story is just too disjointed to truly feel invested in any of these characters.

Throughout the film we are consistently told (mostly by Stephen himself) that he has struggled his whole life. From our perspective it seems everything is simply handed to him. When we first meet Stephen he gets an amazing book deal, the idea for his next novel falls into his lap, and shortly after so does Amber Heard. It is Stephen’s self-destructive tendencies that mess it all up but we are unsympathetic because we don’t really know who he is. We are given a superficial glimpse but it is revealed early on that Stephen is an unreliable narrator.

Regardless of its shortcoming, there are still some great moments in the film, mostly those that involve Stephen’s best friend Roger (Jim Parrack). He adds some levity to the film but also acts as a realistic wake up call for Stephen. Regardless of which flashbacks actually are true, we see that Stephen and Roger came from the same place but their lives diverged on two very different paths. The always fantastic Ed Harris also gives another great performance as Stephen’s father, who may or may not be the monster he initially appears. The editing of the film also deserves credit for making the narrative much more interesting to watch than the story should allow.

Out of a curiosity, I read an article about the memoir while waiting for my second screening. This definitely appears to be a case where the source material is far better than what it inspired. I would recommend fans of Stephen Elliott check out the film since they will likely be able to connect more of the pieces than someone unfamiliar with the book. For everyone else, the film feels like a less intelligent and far more Americanized version of The Girl With The Dragon Tattoo. The film is enjoyable in its own way but it is frustrating to think how much better it could have been…

GRANDMA

Paul Weitz will always have a special place in my heart for his hugely influential directorial debut, American Pie. While he does not sport a spotless filmography, he does impress with films like About A Boy and the highly underrated In Good Company. (I’d also like to make a special mention to the even more underrated TV show Off Centre, which I couldn’t help but mention during an interview with Sean Maguire a few years back.) While GRANDMA doesn’t stack quite as high as those other films in my book, it is definitely close. This may be Weitz’s most intimate film to date but that also lends itself to an annoying problem. While the characters are vibrant and it is easy to invest in the story, at times the film can feel too small for its own good.

A pregnant teenage girl and her eccentric grandmother drive around town trying to scrounge up $630 to pay for her abortion appointment later in the day. There are many scenes that are funny, moving and at times both. While the premise is fine, there really is no sense of urgency motivating the picture. The grandmother is cash poor but explains that she has checks coming in the following week that would cover the procedure. Why not wait? Because morning sickness is starting to kick in. That is the sole reasoning behind the events that unfold. There are other examples of weak motivations and unexplored routes that held me back from really loving the film.

Getting past nitpicks, GRANDMA really does have a lot going for it. Namely, Lily Tomlin. Her name is sure to come up during Awards season this year and not just because Sony has already made it clear they plan a big push. This really is her film and she shines throughout. Tomlin owns the role expertly pulling off the hip granny routine without ever feeling like a shtick. That is actually her car they spend much of the runtime driving around in which speaks volumes for how much she put into this film. While it likely will not end up as one of my favorites of the festival, GRANDMA is definitely one to check out when it gets a wider release.

TRUE STORY – The Review

The movies (especially dramas) have enjoyed a long infatuation with the legal system, particularly in the courtroom’s near-theatrical setting and its trappings. There are monologues (opening and closing statements) and dialogues (the ole’ cross examination on the witness stand, where Perry Mason got many a startling confession). And that essential conflict between those seeking justice or compensation and those often literally fighting, pleading for their lives. Good dramatic fodder, but what if journalism is tossed into the mix, mainly the cynical reporter or writer researching and often befriending (despite their resolve) the accused. Those were big parts of the recent dueling biographies of Truman Capote as he researched, and became smitten with, the deadly duo he profiled in that crime classic IN COLD BLOOD. The writer/defendant pairing is once again explored in this new film and like those Capote flicks it is a TRUE STORY.

After a brutal, heart-wrenching nearly silent sequence, the film transports us to Africa as New York Times investigative reporter Michael Finkel (Jonah Hill) interviews teenage boys, through an interpreter, who were child slaves. Meanwhile, at a church in Mexico, Christian Longo (James Franco) befriends a pretty German tourist, introducing himself as NY Times reporter Michael Finkel. Cut to the Times newsroom as Finkel finishes up his child slavery expose, just in time to be the cover piece for the magazine supplement. This just as US law enforcement catches up to Longo south of the border. Things take a turn for the real Finkel up in the states as the authenticity of the African report is challenged. Seems that the boy profiled in the piece was a composite that encompassed all the true horror stories for more dramatic impact, as Finkel clumsily explains in his defense, to no avail. He’s out of the Times and returns to the Montana cabin-style home he shares with his researcher wife Jill (Felicty Jones). Finkel exhausts his publishing contacts in a futile effort to jump back into journalism, but the writer with so much promise is now seen as “damaged goods”. Then a call out of the blue from a newsman in Oregon stuns him with, “What do you think of this accused murderer using your identity?”. An intrigued Finkel travels to the jail to meet with Longo, who’s awaiting trial for the killing of his wife and three young children. Longo expresses his admiration for Finkel’s work and loans him his notebooks filled with musings and sketches. The men agree to collaborate on a book. As Finkel continues their meetings and begins to research, he thinks he’s unraveled the mystery of Longo. Could he possibly be innocent? And will Finkel help him gain his freedom?

STORY mostly unspools as a dramatic showcase or “calling card” for two actors primarily known for their comedic movie rules (both are charter members of the “Apatow pack”). Of the duo, Franco has compiled a longer list of “serious” work (hey, he was James Dean in a cable TV flick!), but we’re not seeing much of anything new here. He’s working his sloe-eyed, squinty charms for maximum seductive effect (and it somewhat ensnares Finkel in his web), but that usual intelligence is AWOL. His Longo is often clumsily and overtly manipulative, particularly in his big, klunky courtroom confessional. Hill has only had a couple of chances to work his “drama chops”, scoring Oscar noms for his expert turn in MONEYBALL and, inexplicably, as the exhibitionist, drug-addled, buck-toothed broker buffoon in THE WOLF OF WALL STREET (still a mystery!), but he brings some much-needed energy to the film, particularly when he’s called on the carpet by his Times bosses (you can almost smell the “flopsweat”). Too often, though, he’s reduced to a breathless awe (we expect him to lunge for his much used inhaler) in his scenes with Franco. But we can never truly believe that Finkel’s really buying the B.S. that Longo’s selling (and shoveling). Jones, so wonderful in last year’s THE THEORY OF EVERYTHING (easily matching Oscar-winner Redmayne) is given little to do here as the standard movie-bio supportive wife complete with furrowed brow and much hand-wringing. Does she feel that her hubby is falling for his subject or is she concerned for their safety? Perhaps to compensate the actress, Jill is giving a third act big confrontation scene that comes off as both exploitive and far-fetched. Still, there’s some terrific supporting work here by Gretchen Mol as Finkel’s “you know what”-busting Times editor, Ethan Suplee as the small town writer that alerts Finkel, and Robert John Burke as the dogged lawman who will not rest till Longo is found guilty (you can almost see the daggers shooting from his eyes as Franco takes the stand).

Rupert Goold’s direction of the screenplay adaptation he co-wrote with David Kajganich, from Finkel’s memoir, just never keeps a constant momentum and feels twice as long as its 100 minutes. The film’s pace just seems to stall out, much too often. Maybe it’s the sterile setting of the courtroom or the airy holding area where Finkel and Longo engage in some many protracted conversations about the crime and literary structure. We never really get inside Longo’s head, aside from some hazy, slow-motion shots of the happy kids and haunted wife cavorting in parks and playgrounds. He’s the con man who’s far less clever than he believes. The only look at the grieving families is a bitter encounter with Finkel outside the courtroom. The final moments come across as a cheap play to deliver a chill up the spine before the odd pre-credit update coda (the unsatisfying messiness of real life). There’s three truly talented actors at this film’s center, but even they can’t elevate TRUE STORY beyond basic cable TV fare.

2.5 Out of 5

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

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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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