We Are Movie Geeks All things movies… as noted by geeks.

May 13, 2021

RIDERS OF JUSTICE – Review

Filed under: Review — Tags: , , , , , , — Mark Glass @ 8:36 pm
A scene from RIDERS OF JUSTICE (Retfærdighedens Ryttere), a Magnet release.
Photo credit: Rolf Konow. Courtesy of Magnet Releasing

Although the title reads like something from a 1930s Western, this is a very contemporary Danish revenge flick with a unique blend of action and comedy, written and directed by Anders Thomas Jensen and starring Mads Mikkelsen (Oscar-winning ANOTHER ROUND, TV’s “Hannibal”). It is also my favorite film, thus far, of 2021. Sneaky excellence in a surprising package.

We open with math geek Otto (Nikolaj Lie Kaas) struggling to explain the commercial value of his algorithm for predictions, factoring far more causal factors than any other program. It is akin to the axiomatic butterfly in Africa fluttering its wings setting in motion a chain of events that result in something quite different across the globe. The tunnel-vision Board fails to see how it will serve their only goal of selling their product, so they fire him and his fellow nerds.

That lands him in a commuter train car (earlier than usual) which explodes, killing a bunch of the passengers. One is a woman to whom he chivalrously gave his seat. Otto and the woman’s teen daughter, Mathilde (Andrea Heick Gadeberg) survive. He learns that the key witness about to testify against the head of a local gang of thugs – the eponymous Riders – is another casualty of this seeming accident.

But filled with survivor’s guilt, and licking the fresh wounds of his rejected program, Otto recalls seeing something that convinces him the blast was a planned hit on the witness, rather than a random bit of bad luck. The police dismiss his speculation. So Otto and his cohorts Lennart (Lars Brygmann) and Emmenthaler (Nicolas Bro) start trying to prove their point via their method. They take this idea to the husband of the unlucky lady, Markus (Mads Mikkelsen), a hard-nosed career soldier who was forced to interrupt his career abroad to try being a parent to his surly teen daughter Mathilde.

From that point on, the movie is a masterful blend of action, slapstick and character comedy as the foursome hunts the perps to right that hideous wrong, while keeping Markus’ daughter from learning what they’re doing. She’s busy trying to convince her angry, taciturn dad to open up and deal with his feelings, not knowing his method is already in process, and about as far from a shrink’s couch as one could get.

This film plays as a welcome novelty in the “Don’t-F***-with- My-Family” genre. Mikkelsen assumes the mantle of a Danish Liam Neeson, who has established himself (and his particular set of skills) as an Irish Charles Bronson, who made a career of being an American Chuck Norris, with the bonus of added range and talent. There is plenty of action, delightful humor and the proper amount of emotional work in this wonderful dark comedy. The four male avengers contribute first-rate performances in fleshing out relatable, complex protagonists. With all the worldwide travel restrictions of the past year, we can be grateful none apply to importing films like this.

RIDERS OF JUSTICE, in Danish with English subtitles, opens Friday, May 14, at Landmark’s Plaza Frontenac Cinema and streaming on demand.

RATING: 3 1/2 out of 4 stars

May 7, 2021

THE HUMAN FACTOR – Review

Filed under: Review — Tags: , , , , , , , , , , , , — Cate Marquis @ 6:44 am
Left to right: Ehud Barak, Bill Clinton and Yasser Arafat at Camp David, in July 2000.
Photo credit: William J. Clinton Presidential Library. Courtesy of Sony Pictures Classics.

The Israeli-Palestinian conflict is one of the most intractable the world has seen. THE HUMAN FACTOR focuses on the effort to bring a resolution to that conflict through negotiations mediated by the U.S., but particularly on the human side, the human factor, in that effort. Interestingly, it is also presented from the viewpoint of the guys in the middle, the American mediators, rather than the two sides in the conflict. The result is an engrossing, surprisingly gripping documentary that makes one ache for what might have been.

THE HUMAN FACTOR is also a revealing documentary about the long-running effort to resolve the conflict, that offers up remarkable insights, some unexpected humorous moments, and many fascinating details about the process and the personalities involved. The decades-long peace negotiations spanned two presidents from different political parties, two secretaries of state, and three Israeli prime ministers, and a process actually begun under another American president and another Israeli prime minister. The focus on the human factor gets beyond any dry historical facts, and burrows into the people and the process that came so close, more than once, to a promise for peace in the Middle East.

Directed by Dror Moreh, an Israeli director and cinematographer, whose previous 2012 documentary, THE GATEKEEPERS, took an insightful look back at Shin Bet, Israel’s secret security organization, a documentary that was nominated for an Oscar and numerous other awards. THE HUMAN FACTOR likewise is garnering nominations as it makes its way around the film festival circuit.

Like in Moreh’s previous documentary THE GATEKEEPERS, THE HUMAN FACTOR focuses on the people involved in the process, bringing out a depth that burrows far beneath the familiar history, revealing remarkable insights and unexpected details. The documentary spans the efforts begun under President George H.W. Bush and his Secretary of State James Baker, following President Jimmy Carter’s successful peace negotiations between Israeli Prime Minister Menachem Begin and Egyptian President Anwar Sadat, and continues through President Bill Clinton and Secretary of State Warren Christopher’s efforts the bring together Palestinian leader Yasser Arafat and three very different Israeli prime ministers, Yitzhak Rabin, Binyamin Netanyahu and Ehud Barak. But who knew James Baker, secretary of state under President George H.W. Bush, was such crackling personality and master arm-twister, with a sometimes-salty tongue? Or that Palestinian leader Yasser Arafat was such a “kisser?” Such little personal details and quirks provide a way in to the role the interpersonal plays in high-stakes negotiations. The documentary’s human-focus approach gives us a different way into this knotty issue, and taking the viewpoint of the mediators gives a fresh perspective that avoids simply re-arguing the two sides’ viewpoints. It is about the process and whether these two can agree on a way through the conflict.

The writer/director got unprecedented access to the people directly involved in the negotiations, the diplomats on the ground on a daily basis rather than the famous names in the headlines. Many of the famous names are gone anyway, although the diplomats offer many insights on them as well as the process. The interviewees, who speak frankly, even emotionally, include American diplomat Dennis Ross, Egyptian-born Coptic-American interpreter Gamal Helal, British-born American Middle East analyst Martin Indyk, and American-born fellow Middle East analyst Aaron D. Miller, whose pointed observations are among the most revealing. The interviews give us a fresh behind-the-curtain and in-depth view of both the negotiations, the issues, influential contemporary events, and the personalities involved. This perspective brings new insights into the missteps and near misses along the way, the quirks of the people at the top, and a heartbreaking understanding of just how close they came to succeeding.

The documentary is visually dynamic, which is not surprising given that Moreh is also a cinematographer. Moreh skillfully mixes archival footage and stills, in black and white and color, with the present-day interviews. Mostly, Moreh lets his subjects talk, perhaps asking one question, which allows them to delve into unsuspected background, and focuses on the behind-the-scenes maneuvering that never made it into the papers, as well as offering historical context of other events taking place concurrently.

THE HUMAN FACTOR is a fascinating, beautifully-constructed documentary, emotionally-involving even for audiences who are less familiar with the history of the Israeli-Palestinian negotiations. It is as illuminating a documentary as could be made on the human side of negotiating and diplomacy, not just for this particular negotiation, about the intangibles of the process, the finesse and the delicate touch needed , and the deeply human side of negotiating a thorny, difficult issue, with the hope for lasting resolution and peace. THE HUMAN FACTOR is a must-see, a tantalizing look at what might have been for the Middle East.

THE HUMAN FACTOR opens Friday, May 7, at Landmark’s Plaza Frontenac Cinema

RATING: 4 out of 4 stars

May 1, 2021

TOM CLANCY’S WITHOUT REMORSE – Review

Filed under: Movies,Review — Tags: , , , , , , , , — Mark Glass @ 8:18 am
Michael B. Jordan stars in WITHOUT REMORSE Photo: Nadja Klier © 2020 Paramount Pictures

TOM CLANCY’S WITHOUT REMORSE is an action film origin tale for John Clark, who Tom Clancy fans will recognize as one of the characters in the best-selling author’s Jack Ryan universe. Our hero John Kelly (Michael B. Jordan) is a Navy SEAL whose team is betrayed on its opening rescue mission, costing one life under much heavier fire than the CIA led them to expect. At home three months later, two members of his unit are murdered; then the attempt at getting him leads to losing his pregnant wife. Who’s behind all of this? What are the hidden agendas? Can Jordan get the answers and avenge these losses?

No matter how many times one sees action movies with this premise, whether in contemporary spy and crime fare; vintage Asian martial arts, or Spaghetti (and domestic) Westerns, viewers can generally find satisfying entertainment, and even catharsis, if the characters are strong and the action is sufficiently visceral. In many cases, as is true here, the other piece is for the plot to be arcane enough to be unsure just who the villains actually are. All three boxes are adequately checked in a brisk production, that is just confusing enough for the right amount of suspense.

So there is nothing new to be found in this one. TOM CLANCY’S WITHOUT REMORSE is just a solid entry into the genre, like dozens of others, that can be perfect for anyone craving this sort of cinematic snack. With all the problems and upheavals of the past few years, this is a timely bit of escapism that may nourish the frustrated spirit.

TOM CLANCY’S WITHOUT REMORSE opens streaming only on Friday, April 30, exclusively on Amazon Prime Video,

April 30, 2021

LIMBO – Review

Filed under: Review — Tags: , , , , , , , , , , — Cate Marquis @ 4:00 pm
Vikash Bhai (left) stars as “Farhad” and Amir El-Masry (right) stars as “Omar” in director Ben Sharrock’s LIMBO, a Focus Features release. Cr. Courtesy of Colin Tennant / Focus Features

A young Syrian musician and a motley collection of other refugees wait on a remote Scottish island while the British government decides their asylum claims, in writer/director Ben Sharrock’s wry funny, poignant LIMBO. LIMBO paints a dryly comic, often absurdist tale of life in limbo, but it also takes us to unexpected places, just as their journey took to them to this unlikely spot.

LIMBO features excellent direction, a tightly-crafted script, fine performances and stunning photography of the harsh, windswept island landscape. This smart, well-crafted film, both funny and touching, was a BAFTA nominee and a winner at the British Independent Film Awards and the Cairo International Film Festival.

The British government has sent this group of refugees to a distant, sparsely-populated, fictional Scottish island to await their fate. The story focuses mainly on the young Syrian musician, Omar (Amir El-Masry), who is both a comic and pitiable figure with his hand in a cast but clutching the case with his musical instrument as he wanders this windswept island. He joins a group that includes Farhad (Vikash Bhai), an Afghan refugee who is a member of a religious minority as well as a Freddie Mercury fan, and a pair of young men from Africa, Abedi (Kwabena Ansah) and Wasef (Ola Orebiyi), one of whom aspires to be a soccer star. One of the group opines that they were sent to this remote location because they are all the least desirable applicants – single men without families or special skills. Actually, the musician has a special skill – he is a talented musician from a family of famous musicians – but he plays the oud, a stringed instrument much beloved in Syria, although here, no one has even heard of it.

While they wait, the men spend their days attending comically-bizarre classes that are supposed to acclimate them to a new culture. The classes are run by a pair of former immigrants, Helga (Sidse Babett Knudsen) and Boris (Kenneth Collard), who act out scenarios that are supposed to represent potential cultural misunderstandings, skits whose oddness leave the refugees staring in open-jawed disbelief. The instructors’ accents, a weird mix of their original ones and Scottish burrs, adds another bit of comic weirdness.

You can hear the humor potential in all that, and writer/director Ben Sharrock takes full advantage of that, but also uses the characters’ uniqueness to deepen them. Theater of the absurd is very present here, while the storytelling makes uses that to help make its points. In one telling scene, Omar stands on a desolate roadside, stoically listening as a group of Scottish teens berate and mock him for being an immigrant – but then offer him a ride. With little choice, the musician accepts, a perfect metaphor for his whole situation.

Filled with dry humor, LIMBO does not preach about immigrants but merely puts a human face on them by putting us in their shoes, particularly the young musician, as they wait in limbo for a distant government’s decision that will determine their fate. The comic elements are combined with pointed observations about the human condition, not just the plight of these wanderers, and some emotionally searing personal moments.

Omar is in limbo in more than one way. Separated from his family, he broods about his life. Omar’s oud belonged to his grandfather, a famous musician in Syria, and Omar was a rising talent himself before war tore his country apart. His family fled to Turkey but faced hostile treatment there, and Omar decided to take a chance in Britain, thinking his musical ability might give him a chance. His decision to seek asylum was paired with his brother’s decision to return to Syria to fight, a choice that caused a rift between them as well as separating the family, something Omar struggles with.

The photography is stunning, and adds enormously to the appeal of the film. Time and again, cinematographer Nick Cooke frames the action against a back drop of pale, waving grasses and gray skies, and repeatedly transforms a stark landscape into painterly scenes that sink into our consciousness as we follow the characters struggles amid the waiting.

This excellent film uses humor and insightful storytelling to deliver a thought-provoking, unexpected, and deeply human tale that rises above just the issue of immigration to a more universally human place. LIMBO opens Friday, April 30, at Landmark’s Plaza Frontenac Cinema, and Marcus’ Ronnies and St. Charles Cinemas.

RATING: 3 1/2 out of 4 stars

EAT WHEATIES – Review

Filed under: Review — Tags: , — Mark Glass @ 5:11 am

By Mark Glass

Obviously, many people love Tony Hale, and the string of socially awkward characters he’s played in dozens of vehicles. Ever since TV’s “Arrested Development,” his shtick has started wearing out its welcome for me. That gave me trepidation about this comedy about a former college nerd appointed to co-chair a class reunion, depending heavily on his ability to contact the actual Elizabeth Banks, remind her of their blink of acquaintance back then, and convince her to attend the event. As required of such films, things go terribly awry, setting up the comedic plot course. As feared, they forgot most of the comedy component.

The shame of this is the broad, talented cast the writers wasted. Alan Tudyk, Elisha Cuthbert, Sarah Chalke, Robbie Amell, Emmanuelle Vaugier, Mimi Kennedy and other familiar names and faces have all entertained us in much better films and TV series. The script obviously appeared more attractive to them in print than in its execution.

Hale plays a social-networking virgin, forced to join Facebook to discharge his duties. His attempts to contact Ms. Banks are mostly on-line and through the screening of her highly-protective agents. He is wrongly branded a stalker and publicly humiliated, causing his life to fall apart before the cinematically-essential upswing in his fate.

One must suspend a lot more disbelief than is justified to stay amused by these proceedings. Hale’s downfall goes too far, and takes up too much of the film’s running time, for an effective comedy. Empathy degrades steadily, as compared to the connections viewers form with other lovable losers like a Napoleon Dynamite, or the eponymous Nerds who kept on seeking Revenge for four feature flicks.

Writer-director Scott Abramovitch is a relative novice, with only a handful of credits. Ideally, this will be a learning experience that leads to better productions. Da kid may have potential.

RATING: 1 out of 4 stars

Screen Media will release in theaters and on demand on April 30.

April 29, 2021

THE VIRTUOSO – Review

Filed under: Movies,Review — Tags: , , , , , — Jim Batts @ 5:06 pm

So, here’s another example of a film that sports a somewhat misleading, or maybe a tad confusing title. The word in question is one usually attached to musicians like concert pianists or classical violinists. But no, this concerns another profession entirely. Although…they do share quite a bit in common. There’s the study, solitary dedication, practice, and planning. A huge part of the latter is timing, namely hitting the beats, and releasing those notes at the exact, precise moment for the proper impact. Now this film’s holder of this title doesn’t deal with notes. More often than not, it’s bullets. He’s a highly-paid hitman, one that strikes from the shadows, liquidating swiftly than disappearing into the ether. leaving no trace of his presence. His services are so lauded and coveted that he’s only known as THE VIRTUOSO.


The film opens at the conclusion of the latest “hire’ of the “services” of Mr. V (Anson Mount). In order to appreciate his talents, he provides a narration taking us through the job’s completion. Soon he’s out of the city and back in the wilderness, living by himself in a spartan wood cabinet deep in the woods and well off the grid. His only contacts are a big stray dog lumbering onto his front porch for food and a “burner” cell phone report to V’s agent/supervisor AKA “The Mentor” (Anthony Hopkins) confirming the end of his “gig”. The only way to contact the Virtuoso is by mail sent to a non-government “postal box”. After a few days, a letter arrives. The mentor explains that it’s a “rush job”, only 48 hours, which concerns V. but the fee more than makes up for the haste. But things go sideways and horrific collateral damage occurs. When a shaken V doesn’t answer his phone, Mr. M tracks him to his father’s grave. After relating a story about his time with V’s father in Vietnam, Mentor advises him to push thru the pain and “answer your damn phone”. And soon the next job comes. The envelope contains the cryptic message (maybe a name)”White Rivers” and the map coordinates that lead to Rosie’s Diner outside a cold tiny town in the mountains of the US northeast. In the eatery, V strikes up a conversation with a friendly waitress Dixie (Abbie Cornish) as he tries to figure out his “target’ . Is it the chatty couple at a table? The burly Loner at the counter (Eddie Marsan), who appears to be “packing”? Or it might even be the stoic Deputy (David Morse), who seems to be at every corner of the town? As the snow begins to drift down, the Virtuoso keeps track of all the patrons as he continues to ponder the mystery of the Mentor’s message.

The title role coulld be considered a feature film lead breakout for Mount, mostly known for supporting movie roles and a few TV leads (right now he’s “killing it” as Captain Pike, an early commander of the starship Enterprise on “Star Trek: Discovery”, streaming on Paramount Plus, which I’m told is a mountain of entertainment. The V isn’t a talkative chap, so Mount (aside from his narration) has to relay his state of mind via body language and his dark brooding eyes. And Mount shows us the painful socially awkward qualities of the hitman as he’ll pause during a mission to practice facial expressions in the car’s rearview mirror. He still draws us in, making us wonder about what’s going on in his head. Hopefully, this film will open the gates to more complex roles for him. Cornish makes Dixie a more accessible, friendlier person, though, with her piercing eyes, she remains more than a little enigmatic, as her off-the-cuff cynicism makes her an odd fit for this tiny town. As for newly awarded two-time Oscar-winner Hopkins, well, he’s the standard “man behind the desk”. Most of his time, aside from a rambling clunky ‘Nam monologue at a gravesite, he’s in his Mahogany-toned office, sitting in the dark or by fireplace light. It feels like a quick”grab the check” for a couple of days’ work to inject some star power gig that many veteran actors indulge. It appears that they cut in unimportant bits of business of him: cleaning his weapons, staring at his platoon of cell phones, and so on in order to make it seem that he has a bigger role in the film. And with his new accolades, I’m sure he’ll be featured more prominently in the marketing, but this will never make Tony’s tribute reels. Also, the same roles assigned to two of our best character actors, Marsan and Morse, are little more than beefed-up cameos with little to aid the mystery plot, other than fueling V’s heightened confusion.

Director Nick Stagliano crafts a fairly rote modern action “B” picture (thinking it’ll be a late-night premium cable TV staple very soon) from James C. Wolf’s meandering script. We’ve seen stories of working-class killers before (the two versions of THE MECHANIC spring to mind), but there’s little in the way of film style or offbeat dialogue to set this one apart. There’s a sluggish “spinning their wheels” feel to all the non-action sequences, which aren’t as engaging as needed. It’s especially the case with the endless bits at the diner, as V makes two tedious visits. It all leads up to a USUAL SUSPECTS-inspired flashback explanation which muddies up the mystery element even more and still confuses. The continuity gaffes (Dixie’s concerned up the big snowfall, but just moments later V is cruising on pristine clean streets) add to the general incoherence. Despite the “shouldn’t they know better” cast, THE VIRTUOSO is pretty much the opposite of that title. It’s more a novice, barely hitting his notes and missing the (action) beats.

1.5 Out of 4

THE VIRTUOSO opens in select theatres on Friday, April 30, 2021.

April 28, 2021

THINGS HEARD & SEEN – Review

Filed under: Review — Tags: , , , , , , , , , , , — Jim Batts @ 9:03 pm

With Spring in full bloom through most of the country, many cooped-up urbanites are longing for a sweet getaway, perhaps at a quaint old cottage. Even a century-old farmhouse would do for a nice rest. Ah, but what if someone was already there and refusing to rest. Or stay in the “underworld”? Oh yes, it’s haunted house time at the movies (or at least the number one movie streaming service). No, it’s not another mission for those 1970s paranormal “PIs”, the Warrens, though they’ll be back soon in another entry in the ever-expanding CONJURING series (what, they’ve got like four spin-offs, already). No, this time it’s pure fiction (yes, those other flicks are hotly debated certainly), and it springs ahead into the start of the next decade. Otherwise, it’s a new take on yet another attractive young family as they begin to unravel due to those unexplained, late at night (usually) THINGS HEARD & SEEN.

And those “things” are in full swing as the film begins in the winter of 1980. A young “thirtysomething” man encounters them as he pulls his car into the garage of his somewhat desolate farmhouse home. The story takes a fast rewind to the previous Spring in an NYC apartment where he, artist/historian George Claire (James Norton), and art-restorer wife Catherine (Amanda Seyfried) are hosting a fourth birthday party for their adorable daughter Franny (Ana Sophis Heger). But actually, it’s an excuse for them to drink with their city friends and family, and to announce that George has accepted a teaching internship at upstate Saginaw College. All a cause for celebration, but Amanda’s eating disorder hints at cracks in the happy union. But soon the relocation plans begin as an anxious local real estate agent in Chosen, NY, Mare (Karen Allen) takes the Claires to a 100-year-old four-bedroom former dairy farm known as the Snit (later Vayle) house. It’s a “fixer-upper”, but Catherine’s ready for the challenge as Michael meets with the head of the school’s art department, Floyd DeBeers (F. Murray Abraham). One morning Catherine is surprised when two local young men knock on the door and inquire about work. She hires them with post highschooler Eddie (Alex Neustaedter) as “fix-it man” and his pre-teen brother Cole (Jack Gore0 as a babysitter for Frannie. But something’s just “off”. The lights flicker at night, while intense gasoline exhaust smells waft through the home. Cate’s discovery of an old family Bible raises many questions, while George becomes distracted by a wispy young woman working at a nearby stable, Willis (Natalia Dyer). As Floyd helps to set up a seance (unknown to George) with Cate, the college weaving teacher Justine (Rhea Seehorn) becomes friends with Cate as she begins to question George’s motives and his past. Will these otherworld forces at the new home add to the tensions in the increasingly shaky marriage? And are these “entities” trying to help or harm Catherine?

With those intense expressive eyes, it seems that Seyfried was custom-made to headline ‘spook shows ‘ of this nature. Certainly, but she also carries the emotional weight of the story’s dramatic arc. Although she adores her child, Catherine tries to clamp down on her depressive thoughts and uncertainties, which rises to the surface with that early episode of closeted bulimia. Sure, Seyfried shows us a woman facing the unknown, the same forces that somehow liberate the repressed artist. Curiosity triumphs over terror as Catherine becomes a hidden sleuth, giving her the strength to stand up to the smothering arrogant George. Norton nails his villainous spouse role using his charming smile to get himself out of sticky situations while seducing every easily swayed young woman (the female students swoon at his lectures as though he was a certain Dr. Jones). His smugness and privilege mask his inner evil. Ah, but a few see thru his slick veneer, especially Dyer as the too wise for her years Willis. She knows what George is after, yet can’t stop herself from giving in, as Dyler’s sad dark eyes explain it all to us. Also seeing past the hair and gleaming teeth is Seehorn’s Justine who chooses not to be moved by his B.S. and becomes the crusader that will end his career climb and also rescue Cate from his vise-like grip. She’s “running the show” while the terrific James Urbanik scores a few needed laughs as her pot-growing failed-writer house-hubby. Neustaedter raises the temps as the smoldering long-haired teen dream right from the cover of a romance paperback (complete with Fabio-style hair). Oscar-winner Abraham brings the proper gravitas to his department boss role, while also becoming a kindly mentor/father-figure to the confused Catherine. And kudos to casting two 1980s screen icons as the non-college town couple. Allen, as the sympathetic realtor, and Michael O’Keefe (CADDYSHACK) as her stoic sheriff/ husband.

Venturing into the supernatural for the first time, directors Shari Springer Berman and Robert Pulcini (AMERICAN SPLENDOR) create a subtle, simmering atmosphere of dread, making this tale closer to classics like THE UNINVITED and the original THE HAUNTING rather than the current CGI-enhanced “found footage” flicks and more effects-heavy franchises. Yes, there are a few “jump scares”, but there’s little reliance on the jarring sound mix tricks that have almost become cliche. Thanks to their screenplay adaptation of Elizabeth Brundage’s novel, the unraveling of the Claire marriage has as much importance as the disembodied voices and the hovering crows (with the time frame, you may recall ORDINARY PEOPLE). The frenetic third act has some unexpected turns, that lead to a final denouncement that offers little in the way of a dramatic “pay-off’ while creating lots of questions involving logic and character motivations. But, as I mentioned, that 80s atmosphere really works (praise to those artists in costumes, hairstyles, and set decoration), and Seyfried is a sublime horror heroine. With her as our guide, it’s an engaging tour through THINGS HEARD AND SEEN.

3 Out of 4

THINGS HEARD & SEEN streams exclusively on Netflix beginning on Thursday, April 29, 2021.

FOUR GOOD DAYS – Review

Filed under: Review — Tags: , , , , , — Jim Batts @ 4:45 pm

While most families have somehow forged closer bonds during the pandemic, with older children returning to the nest to “ride out” the lockdowns while making sure all health measures are taken, one problem continues to push loved ones apart, the ever=present scourge of drug addiction. In most of the crime dramas of the last century, addicts filled the gutters and alleyways while the pushers used all matter of violence to control those dark streets. Then a curious thing happened in the last couple of decades. The specter of substance abuse oozed into the supposed-to-be-safe suburbs and even rural areas. Some media commentators have labeled it the “opioid epidemic, an apt subtitle for this new “inspired by true events” family drama. But at its heart, it’s a look at the tested bond between mother and daughter that tries to remain strong during what they hope will be FOUR GOOD DAYS.


At a well-kept two-story home in clean. tree-lined neighborhood, Deb (Glenn Close) is jolted awake by someone pounding on the front door in the early post-dawn hours. She has a hunch about the visitor, so she persuades hubby Chris (Stephen Root) to stay in bed. Peering through the door’s “spy hole”, Deb sees her long-absent eldest daughter Molly (Mila Kunis). After opening the door “just a touch”, Deb is greeted with pleas from the disheveled Molly to let her come in and “crash” for a day or so. Ah but this has happened before, so Deb insists that Molly gets “clean” and kicks her drug addiction before she offers shelter or money. Molly remains steadfast and refuses to walk away to a clinic or hospital, then proceeds to “camp out” on the front doorstep. Deb and Chris go about their day (luckily it’s her day off as a masseuse at the local casino’s spa, and he’s retired), though she observes Molly through different windows. Early the next morning Deb checks and a shivering Molly is still huddled near the door. Mom relents, and over a cup of coffee, Molly insists she’ll get clean with her help. The duo head to the hospital where a doctor suggests a somewhat radical treatment. He can inject Molly with an opioid antagonist, which will prevent her from being high. Oh, but there’s a big catch. Her system has to be clean of any drugs for the next four days, otherwise, the “blocker” could prove lethal. They both agree and return home and begin a grueling 96-hour battle of wills, one that may finally save Molly and mend the shattered relationship with Deb and the rest of the family.

The role of a middle-aged, still working-class mother (and grandmother) feels like a decent fit for the talented Close, whose tired but still engaged (watch them dart about in several unlikely settings) eyes reveal Deb’s pain and regret. And still, she draws us in with that glimmer of hope, wanting us to also believe that this lifeline to Molly will be the one that returns her to the sober world. It’s not until the story’s frantic final act that the source of that regret is revealed, as Deb blames her past decisions (including an escape from an abusive first marriage) for leading her daughter down a destructive path. Close projects quiet strength, but still reveals Deb’s fragile, uneasy state. She’s got a compelling screen sparring partner in the definitely “cast against type” Kunis who graduated from sultry comic bombshells in TV’s “That 70’s Show” and films such as EXTRACT and FORGETTING SARAH MARSHALL to one of the manic BAD MOMS, though her dramatic screen work has been rare. She totally commits to Molly, eschewing any sense of glamour with her deep grey sunken eyes, chipped “parking lot” teeth (which Molly tries to hide in her early scenes), and stringy bleached-blonde green-tipped hair. But it goes behind the looks. Kunis has a look of scheming desperation creeping through her “half-mast” dark eyelids. We never quite know if she really wants to be clean, or if she’s just going through the motions while waiting for a chance for her inner demons to strike out. Regret also figures into her demeanor, as she seems to ponder all the years spent in limbo as she chain-smokes in Deb’s open garage over a TV table jigsaw puzzle (that’s an apt metaphor for Molly). Another pleasant dramatic surprise is the always-watchable Root who makes Chris more than the affable supportive second spouse. It kills him to see his love going down a familiar path of heartbreak which spurs him to fight, even if it means angering her, at one point prodding her with “You wanna’ fight me? Go ahead!!”. Kudos are also due to another usually comic actress Carla Gallo who plays Molly’s sardonic kid sister, whose mother Deb almost ignores in her Molly mission (Deb’s never in the moment with her). There’s a lot of truly creative casting at work in this film.

They’re all guided with great sensitivity by director Rodrigo Garcia who also co-wrote the screenplay with Ed Saslow, which is based on his acclaimed 2016 Washington Post piece “How’s Amanda? A Story of Truth, Lies, and American Addiction”. The story tends to flit about, perhaps trying to compress too much in that very long weekend. Yes, we can accept those dental “temps”, but a chance drug store meeting with a high school teacher, leading to Molly addressing an often disinterested class feels a bit rushed. That’s especially the case when one of her demands leads to a perilous trek into the “bad part of turn” (though tidier than most) that tries to amp up the suspense by taking Deb way out of her comfort zone. The tension continues with a third act twist, leading to a fairly standard rehash of the TERMS OF ENDEARMENT hospital clashes. In turn, this dovetails into a denouncement that comes off as flat and compromised. Perhaps the final fadeout shot wants to proclaim that the challenge is far from done, but it feels a tad cold. Still Close and Kunis make an interesting “home’ team, and for their fans, FOUR GOOD DAYS is a worthy exploration of a health crisis that continues to claim lives and families.

2.5 out of 4

FOUR GOOD DAYS opens in select theatres and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas beginning Friday, April 30, 2021.

April 25, 2021

LADDIE: THE MAN BEHIND THE MOVIES – Review

Filed under: Review — Tags: , , , , , , , , , , , , — Jim Batts @ 11:31 pm

And now the 93rd Annual Oscars are finished. Another one for the records books, it is now history. But how to quench your thirst for a bit more Hollywood history? Here’s the perfect refresher. It’s a warm, interview and clip-filled look back at one of the motion picture industry’s greatest producers. As a matter of fact (and it’s hammered home here) he was the head (or close to) of four of the major studio (really, you’d know the logos). Oh, and he’s still with us, offering his sage advice and counsel to filmmakers and stars. So we’re not talking about the cigar-chomping Golden Age studio moguls who are usually vilified in the non-fiction books and films (The biggest villain of MANK may be the ruthless and controlling Louis Mayer). No, this is about a man whose influence may have ushered in, maybe not a silver, but a bronze age, from the 1970s to just about a decade or so ago. And unlike Mayer and his contemporaries Zanuck, Zucker, Laemmie, and Cohn he truly has movies in his blood (real silver screen DNA). This documentary feature subject is Alan Ladd, Jr., often referred to as LADDIE: THE MAN BEHIND THE MOVIES.

Our genial guide through this remarkable man’s life and career truly knows her subject. It’s his daughter Amanda Ladd-Jones, who tells us that this film began as a birthday present, one that we now all get to share. Unfortunately, the subject has a legendary tendency to be … well tight-lipped. But luckily his former collaborators and friends (and so many are in both groups, surprisingly) are quick to sing his praises. But before those triumphs, there was a difficult childhood. That blood and DNA, well it comes from the 1940s through the 50s matinee idol Alan Ladd, who himself was tight-lipped in noir thrillers (THIS GUN FOR HIRE) and Westerns (the iconic SHANE). But being the son of a movie star is close to hitting the genetic lottery, right? You’d think so, but Laddie was the only son Senior had with his first wife Marjorie. Nearing his teens when papa remarried, Laddie was largely ignored as the star remarried and began a new family with Sue Carol. We hear heart-wrenching stories from stepbrother David (an actor who ended up marrying the fourth TV Charlie’s Angel). Perhaps this helped to motivate Laddie at the boarding and military schools and college. By the time he’s finished his education, his father passes at age of 50 from years of alcohol and prescription pill abuse. Now Laddie was free of his shadow and ready to make a name for himself behind the scenes in show “biz”. In the wild 1960’s he was an agent representing several actors, including Peter Sellars (“Completely mad.” Laddie quickly offers) which lead to film production, then soon taking the reins of Twentieth Century Fox’s European division. Around the time he began his own family with school sweetheart Patricia, the call came in for his return to the states and tasked with saving the flailing Fox (still reeling from the one-two bombs of DOCTOR DOOLITTLE and HELLO DOLLY). He quickly established himself as an exec who valued up-and-coming filmmakers, having an open mind and keen box office instincts. When Columbia balked at Mel Brooks’ insistence to shoot YOUNG FRANKENSTEIN in black and white, Laddie saw the method in his madness and said yes. When Richard Donner brought the script for the horror opus THE OMEN, Laddie defied the studio’s heads and insisted Donner (then known for TV work) direct. And when the hot young director of AMERICAN GRAFFITI needed a home for his weird Flash Gordon-homage, Laddie again irked the board of directors by giving a “green light” for STAR WARS. Soon after the megahit ALIEN (again helmed by a relatively unknown Ridley Scott). Alan left Fox to form his own division, The Ladd Company, which merged with Warner Brothers (studio two). From there it was a leap to United Artists in the late 1980s, before finishing up at Paramount in the 1990s and early 2000s (and grabbing an Oscar for BRAVEHEART in 1995).

Okay, so the director is a tad prejudiced, though Ms. Ladd-Jones hasn’t pieced together a fawning Father’s Day card of a flick about the family patriarch. Its opening (Laddie’s early years) is chocked-full of old school glitz and glamour (Alan Ladd pretty much carried Paramount through the 1940s), the staged studio publicity stills can’t erase the abandonment of Laddie’s teen years (David becomes quite emotional as he recalls the neglect of his poppa to his firstborn). And despite being saddled with that name (teachers couldn’t believe his actor lineage), the story really comes alive as Laddie spreads his creative wings and soars. Happily, most of the folks that aided that meteoric rise pay their respects. George Lucas sings his praises while Mel Brooks slays with some great stories (“Peru just got color” kills every time). One of the more pleasant revelations concerns Laddie’s desire to keep all of his major movie talents on the same floor of the Fox building, as a free-wheeling film school, leading to Brooks helping to tweak the late Paul Mazursky’s script (he’s sadly been gone for nearly seven years, so this footage reminds us of his endearing charm). The doc also benefits from Richard Donner’s laid-back sardonic wit (“Ladd, Jr.? He made that ‘Very Brady sequel’, right?”). As the decades (and great clips) zip by we get Mel Gibson’s BRAVEHEART tales and Ben Affleck (sporting an odd “boy band” hairstyle with a full beard) on Laddie’s help with his directorial debut GONE BABY GONE (“lose the ‘chamber of commerce’ shots”). But there seems to be one artist who continues to pop up in this saga, Ridley Scott. We see a few seconds from his debut THE DUELISTS before the big explosion (poor John Hurt’s chest) of AlIEN. When Laddie heads to the WB lot, Scott follows with BLADE RUNNER, thought of as a box office dud in 82, the film’s influence extends into the current slate of SF epics. Then in a complete turnabout, Scott is convinced to helm the dusty dirty box office smash THELMA & LOUIS (with Laddie influencing its off-beat ending). Aside from STAR WARS, Laddie also throws his support behind award-winning films that his former studios dumped (Fox stepped away, so Warners grabbed the Best Picture Oscar for CHARIOTS OF FIRE). But so that we don’t think of him as too “high brow” we’re reminded that he also started the POLICE ACADEMY franchise (also inspiring the end scene of the first one). Ms. Ladd-Jones also delves into the misfires, particularly THE RIGHT STUFF which rankles Laddie so much that he has never watched it (“lost control, too long and too over budget”). Hey Mr. L, I think it’s still pretty great. And we hear of his sadness at the ending of his first marriage, although his marriage to Cindra has given him great joy and another family (including a talented biographer). And though his office days are behind him, he’s still in great demand for his storytelling instincts and vast knowledge (though many in the film will admit that he can be a soft or “low talker” ala “Seinfeld”). If you’re in the mood for a terrific crash course in the big studio films of the past fifty or so years, then you’ll be informed and greatly entertained by spending a fast-paced 83 minutes with LADDIE: THE MAN BEHIND THE MOVIES.

3.5 Out of 4

LADDIE: THE MAN BEHIND THE MOVIES is available to rent and buy on digital download beginning on April 26, 2021

April 21, 2021

TOGETHER TOGETHER – Review

Filed under: Review — Tags: , , , , , , — Jim Batts @ 8:58 pm

This week’s new release explores a fairly familiar premise in cinema, but with a fresh, modern angle (you can bet that things are truly complicated in this still somewhat new century). To borrow from the old, classic slang for public education, this flick covers the “three R’s”. The subject and the dialogue especially (rather than the imagery) can get fairly graphic, so the “R” rating is pretty much a given. And it is very heavy into relationships, mainly the two very different people at its core. Plus, in the broadest of definitions, this work is a twist on the “rom-com”, though its marketing would suggest a lesser emphasis on the “rom” part. There is the frothy “will they” idea in its premise of a man and a woman entering into an arrangement that skirts into that territory (PRETTY WOMAN would be the most obvious example, perhaps). But don’t look for high gloss “glitz and glamour” here as these two very distant strangers somehow try to keep things “on the up and up” as they are some brought TOGETHER TOGETHER.

After the spartan (white type on a black background) titles, we’re thrust right in the middle of what appears to be a fairly standard job interview. Forty-something Matt (Ed Helms) is going down his checklist of questions for twenty-something, perhaps early thirty-something, Anna (Patti Harrison). Fairly quickly, the inquiries become more personal and alarmingly intimate. Soon it’s revealed that “single guy” Matt wants to be a “single dad” and is considering hiring Anna to carry his “seed” (by medical means, nothing tawdry). It seems something’s missing from his life as a somewhat successful software developer. After some final negotiations, the deal is “sealed”. The duo visit a “specialist”, Dr. Andrews (Rosalind Chao), and later Matt explains his plan to his “already a papa” brother Jacob (Timm Sharp), though he’s in a committed relationship, and his bewildered mother Adele (Nora Dunn) and supportive stepdad Marty (Fred Melamed). As time passes, Anna tries to go about her main job as the manager of a trendy coffee shop while keeping her “side gig” a secret from snarky bored barista Jules (Julio Torres). Unfortunately, Matt can’t keep away from her and pops in at the shop to “check-up”. Anna’s frustrations prompt him to schedule sessions with a relationship therapist Madeline (Tig Notaro). .As the “boundaries” are set up, the pair get to know each other a bit more, so that when some minor health concerns arise, Matt suggests that she should just live in a spare room at his suburban house. But their personalities clash as they continue with Madeline and begin to make check-ups with pediatric nurse Jean (Sufie Bradshaw). Still, as they spend more time together, they wonder if this is more than a “business arrangement”. And just what will happen when the “blessed event’ (or contract conclusion) finally occurs.

Add Matt to the ever-growing list of affable, though a bit anal, leading men in the Helms resume. This time out he’s not the ‘punching bag” dweeb of THE HANGOVER trilogy (no physical humiliations ala facial tattoos and missing teeth), but rather a hybrid of the sweet-natured shlub of CEDAR RAPIDS (ten years ago already) and the often aggressively annoying Andy Bernard of TV’s “The Office”. The big weapon in his character arsenal this time is cool passive aggression, as Matt wants to guilt Anna into his structured agenda. When she resists Helms turns on that needy puppy expression (those quivering moist eyes) that brings a lot of warmth to the brittle “wannabe” pop. Mostly his Matt needs to be in control, so it’s entertaining to see Anna place him in a pit of awkward humiliation as she grills him on proper “feminine hygiene” (watch him sweat and squirm). We know of Helm’s strengths, but the big discovery here is Harrison who’s had small roles in TV and films while also making a name as a writer for “edgy’ TV shows (she just won an “Annie” for the Netflix cartoon “Big Mouth”). Her Anna is tough beyond her years, wrapping herself in an armor forged by years of frustration and disappointment. Early on she “draws a line in the sand”, informing Matt in strong terms when he’s crossed that line (she’s going to hold him to their contract). But Harrison lets us see Anna take a bit of that guard down as she opens up to Matt as the months pass. Anna has turned her back on her own family but is surprised to find a new one, and a bit of a mentor, in Matt. And she also begins to accept kindness after countless offers, when health issues blindside her. It also helps that this “oddest of couples” have the terrific Notaro and Bradshaw to referee their verbal and emotional battles.

Writer/director Nikole Beckwith has created a quirky comedy for this “new normal” that asks us to follow and “root for” this flawed but endearing pair thrown together by fate and a business deal. As stated earlier, much of it rests on the work of the talented main acting team, though Beckwith wisely paired them and guided their work, never losing the reality of the script in order to go for big broad laughs. Much of its humor is mined from the vast well of social awkwardness (that “hygiene” and Matt’s disgust at running into Anna’s overnight “guest”), and “zany” co-workers (Jules is funny and a bit scary), but it doesn’t detract from the emotional growth of the leads. Another strength is the filmmaker’s refusal to take the usual “path”. From the opening titles, it appears we may be going into a Woody Allen-inspired “May/December’ tale, but the characters themselves address it at mid-point, even offering a savage denouncement of those iconic flicks (Anna really tears into the whole cliche). Beckwith keeps the story moving briskly for its trim ninety minutes, never needing to “pad’ with side characters. And kudos for an ending that leaves us wanting to spend a bit more time with this twosome, letting us consider where things could go. Like real life, all is not wrapped up with a perfect bow. But for the duration of their “deal”, you’ll be grateful that these two gifted actors, with their talented director, came TOGETHER TOGETHER.

3 Out of 4

TOGETHER TOGETHER opens in select theatres everywhere on Friday, April 23, 2021

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