Tag: Addiction

A GOOD PERSON – Review

Florence Pugh (left) as Allison and Morgan Freeman (right) as Daniel in A GOOD PERSON, directed by Zach Braff, a Metro Goldwyn Mayer Pictures film. Credit: Jeong Park / Metro Goldwyn Mayer Pictures © 2023 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved.

Now that we’re a few days into Spring and the temps are rising and the sun’s breaking through, it’s easy to forget that for many it’s always dark, cold, and gloomy no matter what’s displayed on the calendar. Just as the movie theatres are slipping into escapist blockbusters a new drama isn’t waiting for the somber. late in the year, “award time”. It is worth seeking out as it’s a showcase for two acclaimed actors. One is a “star on the rise”, gaining a reputation for compelling work over several genres. The other is a screen veteran, an Oscar winner who has achieved iconic status over the last five decades. The story that brings them together poses an interesting and very complex question: can someone whose act of carelessness resulted in a fatality, ever possibly be thought of as A GOOD PERSON?

When we meet Allison (Florence Pugh). her future looks bright and shiny. The twenty-something is a pharmaceutical rep and a pianist/lounge singer (a “side hustle”). But she’s most excited about her upcoming nuptials to the adoring Nathan (Chinaza Uche). Soon after their engagement party, she’s driving Nathan’s sister Molly and her hubby Jesse to her wedding gown fitting. While maneuvering through construction zones on the busy highway Ally glances down at her phone, when a backhoe lurches into her lane leading to tragedy. When she awakes, Ally’s in a hospital bed with her single mom Diane (Molly Shannon) hovering over her. Before she can stop him, an over-eager state trooper bursts into the room and drops a bombshell on Ally: she’s the only survivor of the accident. Across town, Nathan and Molly’s retired policeman widowed papa Daniel (Morgan Freeman) gets the same news as he’s dropping his granddaughter Ryan (Celeste O’Connor) off at her high school. Cut to several months later as Ally now lives with her mom (the engagement crumbled) who implores her to get off the couch and get a job as they battle over Ally’s increasing reliance on prescription painkillers. When her docs “cut her off”, Ally becomes desperate to “score”. Meanwhile, Daniel is so frustrated as the caregiver to the angry rebellious Ryan that he’s about to “fall off the wagon”. When Ally finally hits “rock bottom”, she asks Diane to contact her dad about paying for a rehab facility. As he’s completely MIA, Ally bicycles to a local church to attend an addiction support meeting. Inside she’s stunned to see….Daniel, who begs her to stay. Could this chance reunion lead to defeating their inner demons and be part of the healing process, or perhaps a friendship?

After being universally praised in last year’s flawed fantasy flick DON’T WORRY DARLING, Ms. Pugh (I’m not calling her Miss Flo, as a leaked phone video call revealed during that PR mess). proves how her considerable talents can take flight with much better material. Ally is a complex, troubled figure but never a victim, as Pugh shows how her physical and emotional scars are slow to heal. We see her in the depths whether literally wrestling with her Mom over “Oxy” or degrading herself at a neighborhood pub with a cruel former classmate (a very good Alex Wolff), but Pugh conveys this as her much-needed “wake-up” call, though her heavy-lidded eyes show us that she’s not out of the fog quite yet. With her new support team, Ally goes past the “survivor” role to real maturity and self-reliance. A big part of that is her initially hesitant relationship with Daniel, and could Pugh ask for a more compelling scene partner than the forever fantastic Freeman? After dropping in for cameos in too many forgettable action flicks, it’s great to see him sink his teeth into this “meaty meal” of a man, reminding us of his deserved regard amongst his acting peers. Freeman does bring some humor to the grizzled ex-cop, especially in dealing with a modern team (loved his “crate” gag), but Daniel has his own challenges as he tries to push through the ever-closing walls of regret and remorse. Like Ally, he must contend with the damage he’s inflicted on others, particularly his son Nathan. Uche is superb as the young man whose grief over the loss of his sister is acerbated by the horrors of his past, still bearing the never-healed cruelty of his father. But he shows how his healing may start with the ending or at least ease the rift. Speaking of parent/sibling squabbles, how great is it to see the comedy powerhouse Shannon flexing her dramatic muscles as Ally’s often flighty (Her “Etsy” plan is hilarious), but steely strong mother Diane? Often wearing her “work duds” (company logo shirt and khakis), she goes from “walking on eggshells” to firmly giving her kin a “kick in the keister”. Kudos also to O’Connor as the often exasperating furious Ryan and Zoe Lister-Jones as the support group’s compassionate but tough (she has a keen BS radar) Simona AKA “Mama”.

It seems logical that this impressive stellar cast would be brought together by another actor, as Zach Braff steps behind the camera to guide them through his screenplay. Making expert use of the New Jersey locations, Braff captures the gritty working-class spirit of the area’s neighborhoods. Though a brutal accident puts the story in motion, he prefers to treat it as bursts or snippets of a waking nightmare for Ally, effectively illustrating how the brain reacts to such intense trauma. Plus he allows the characters to frustrate us, to let their interactions get ugly and often “messy”, as they sometimes fall into old destructive patterns. Save for a convoluted near-catastrophe in the city which brings most of the characters careening together (and violence threatens), Braff avoids the melodrama, opting to show how time can really heal (perhaps the third act is too reliant on montages). He’s made a solid foundation, but it’s the ensemble led by the inspired pairing of Pugh and Freeman that is the real strength of A GOOD PERSON.

3.5 Out of 4

A GOOD PERSON is now playing in select theatres.

THE WHALE (2022) – Review

With the holidays in full swing, the movies want us to know that it’s not the happiest of times for some families, and for those who struggle to survive the entire rest of the year. And we’re not talking about Clark Grisswald or even George Bailey. And since it’s also awards season, the multiplex will have plenty of somber, serious cinema like this tale of truly “blue” people (aside from those on Pandora). Yes, addiction plays a major role alongside the actors in this drama. But this kind is rarely seen on screen, compared to booze, drugs, and even sex. This may stem from its being too complicated since the addicted can’t quit (pardon the phrase) “cold turkey”. And this leads to the nickname of this main character, who’s referred to (and sometimes called to his face) as THE WHALE.

It all starts with what has become a familiar situation, a virtual online class, similar to a zoom meeting. All the students are in squares on the laptop screen, except the center is black. We hear the teacher explain that his laptop camera is still busted. Then the view opens up to reveal the speaker, along with a possible reason for his “fib”. That “unseen” writing instructor is Charlie (Brendan Fraser), a man dealing with extreme obesity, tipping (or toppling) the scale at close to 600 pounds. At the conclusion of his class, he kills time waiting for his pizza delivery by going to an “adult” streaming video site. A knock on the door interrupts his “research”, but it’s not pie. It’s a young (early 20s) traveling missionary for the New Life Church, Thomas (Ty Simpkins). After an unsuccessful “pitch”, Charlie’s home care “nurse”, Liz (Hong Chau), stops by to check his vitals. She’s alarmed by the BP test, but Charlie refuses to be taken to a hospital, claiming poverty. This enrages Liz who is more “family” than an employee to him. Later, Charlie gets a surprise visit from his actual family, His estranged teenage daughter Ellie (Sadie Sink) pushes past her revulsion at his appearance to ask for a loan. Eager to reconnect with her Charlie promises her that she can have his savings (another fib) if she will visit him and allow him to help her pass her English course. Over the next few days, as Charlie’s condition continues to deteriorate, Thomas makes him his personal mission, while Liz clashes with him and Ellie, prompting another reunion, as Charlie’s angry ex Mary (Samantha Morton) finds out that Ellie has been dropping in. But can these new and old friends, along with his neglected family, inspire Charlie to get the medical and psychological help that could save his life?

Many media outlets have been filled with variations of “Welcome back Brendan”. To be honest, he never really left the “biz”, toiling in supporting roles, such as last year’s Soderbergh’s noir thriller NO SUDDEN MOVE. Rather this is his first leading role in over a dozen years, and he makes the most of it, delivering his best work since the underrated GODS AND MONSTERS. Much like Charlize Theron in MONSTER, Mr. Fraser made his mark in the glamour roles, building toward this superb character at the center of the story. Charlie is burying his broken heart with calories, but the pain hasn’t taken his often caustic wit (his Bible critique), nor his compassion for others (if only he left some for himself). He’s a prisoner of his body, stuck in a squalid second-floor apartment, who yearns for human connections and contact. We especially see and feel that in his warm relationship with Liz. Chau expertly conveys that she loves him like a brother, but is angry over the frustration at his refusal to stop his cycle of despair and self-loathing. But then Chau shows us her own guilt as she becomes the supplier of the edibles that spur the health spirals she must “slap a bandage on”. But her rage is a spark compared to Sink as the seething Ellie who has cocooned herself with anger to protect herself from his exit from her life, never to open up herself to new pain. But like Liz, her “tough love” will not be the “fix”. Neither will the platitudes of Thomas, who Simpkins plays as a twitchy innocent who needs to “sell Charlie” in order to make up for his past misdeeds. Plus he’s got to suppress his attraction to Ellie, who seems to enjoy toying with him, like a cat with a trapped mouse. And though she’s not seen until the last act, Morton’s compelling as Charlie’s former love who can’t accept that he still cares about her and their child, needing instead to punish him for their shared past.

Actually, this marks more of a feature film return for its director, Darren Aronofsky, than for Fraser. He’s been absent for five years after helming MOTHER. Unlike that trippy “fever dream”, this is a more character-driven drama (but it has a few laughs). And though it’s mainly set in Charlie’s home, it doesn’t feel claustrophobic or “stagey” even though its roots are in the play by Samuel D. Hunter, who adapted his work. Still, there are times when the setting feels like a prison, much like Charlie’s crushing girth. And much of the credit for that, along with the film’s realism and power, goes to the incredible work of the seven-person makeup team who transform Fraser into Charlie, allowing his performance to shine through the prosthetics. Everyone involved worked to make this more than a “carnival show”, avoiding any bit of cruelty or exploitation. Much as with the lead in LEAVING IN LAS VEGAS, we see Charlie as more than his disease and want to save him, even as he pushes everyone away. This makes the sequence of him on a food binge (more of a rampage) truly disturbing and horrific. Some may shun this film, saying it’s a “downer”, which would deprive them of the stellar ensemble cast and a story of love tossing a lifeline to a sweet soul drowning in regret and despair. Despite it title, THE WHALE is a haunting tale of compassion and forgiveness.

3.5 Out of 4

THE WHALE opens in select theatres on Wednesday, December 20.2022

NO EXIT (2022) – Review

If you’re thinking, “I’m so so sick of Winter with all the wind, snow, and icy blasts of frigid air! I need a sunny beach!”, then this flick may not be the cinematic escape. Perhaps the dessert backdrop of DEATH ON THE NILE may be “just the ticket”. But if you’re in the mood for another “whodunit”, then perhaps this new flick may test your “Poirot aspirations. Ah, but as I mentioned earlier it’s a “chiller” in more ways than one. And a “thriller”. Though it also places us in the main character’s quandry and “moral panic”. This story’s heroine must make a choice whether to risk her life (and put aside a family crisis) to intervene when the uncaring tundra-like landscape offers NO EXIT.

The tale’s unlikely (and sometimes unlikable) heroine is Darby (Havana Rose Liu) who we first see enduring another “group session” at a “court-ordered” detox facility. She’s fed up with this “halfway house’ with its condescending counselors and its “fulla’ BS” residents. But the monotony is broken when a nurse tells her that she’s got an important call, a big emergency (otherwise “no contact” with the outside). It’s from a family friend with dire news: her mother’s at “death’s door” in a Salt Lake City” Hospital. Darby implores the staff to release her, but they can’t unless her doctor gives the okay. But it’s Friday afternoon and he’s unreachable till Monday. Later that night, after her pleads are ignored, Darby gets a hidden phone from another “patient/inmate”, grabs some tools, charges through the front doors, and hotwires a nurse’s car. Things are looking rough on the highway as a fierce blizzard begins. Darby’s quick nap on the shoulder of a side road is interrupted by a state trooper. Is her trip over? Does he know that she stole the car? Luckily he’s only concerned for her safety since all the roads are shut down. The trooper insists that she head over to the nearby rest stop that he’s opened up. There Darby meets a quartet of stranded travelers: long-time couple Sandi (Dale Dickey) and gambling buff Ed (Dennis Haysbert), twitchy awkward Lars (David Rhysdahl), and affable hunk Ash (Danny Ramirez). Before they all “hunker down” for the night (and for the roads to be cleared) Darby heads back outside in search of “bars” for her phone. She hears a noise in the parking lot and peers into one of the vehicles. The horrific sight forces the recovering drug addict into the role of sleuth/rescuer. But does she have the courage to do what must be done?

The impact of the story’s many twists and turns hinges on the character of Darby, expertly portrayed by the talented Liu who many of us first saw on screen last year as Bea in the offbeat MAYDAY. Here’s she’s more than up to the challenge of Darby, who we first meet as an angry abrasive twentysomething, resentful of those around her, but really furious at herself, perhaps thinking herself weak for nearly drowning in addiction. Through her eyes and more confident manner, we see that the “urgent call” is more of a “wake-up call” to her, snapping Darby out of her emotional lethargy. Her new inner light burns its brightest after her “discovery’ at the rest stop, with Liu frantically trying to piece together a clue to the culprit and a way to become the hero that was dormant inside her. The biggest “name” actor in the cast is probably Haysbert, who appears to enjoy playing against his usual somber, stoic “commander’ roles as the engaging, but also dealing with addiction (gambling’s pretty destructive too), veteran Ed. His “grounding support’ is the concerned and caring Laurie played subtly by Dickie, who ably handles the character’s major “turnabouts” and whims. Rhysdahl as Lars gives the often cliche “quiet loner” an interesting spin as the “wild card’ that may or may not be the “red herring’ of the mystery. On the “flip-side” Ramirez as Ash ably essays the “aid-back sensitive self-effacing boyfriend-material” (his first lin after waking from a nap:”Was I snoring? I bet I was!”) who is much more than he appears. Kudos also to a very gifted young actress Mila Harris as Jay, who helps kick the plot into “high gear”.

Giving this tight, taut modern noir a lot of energy and crisp pacing is director Damien Power, indeed displaying lots of power in his second feature film. In the opening minutes, we think we’re getting a character study, a struggle with sobriety, but then Power takes a sharp turn into crime thriller territory, almost giving us a bit of whiplash as the story veers into even darker subject matter. Much of these moods shifts must be credited to screenwriters Andrew Barrer and Gabriel Ferrari (ANT-MAN AND THE WASP…really) who adapted the Taylor Adams novel. Though much of the action occurs within the shack-like rest area, the right amount of claustrophobia is established. The characters can still leave, but it never seems to be as though the makers want to “open it up” (like a certain train Poirot flick a few years ago). “Going out” may appear to be an “escape route”, but the constant arctic wind (you may shiver by suggestion) proves a most “unsafe space”, along with the snow that provides footprint clues to your locale making everybody a prisoner of the elements. Another gripping touch are the sudden bursts of brutal violence that really ‘stay’ with those “inflicted”, which often makes us wince in empathy. Coupled with the evolving mystery that slowly unfolds makes this tale of redemption and recovery a true “nail-biter”.It’s certainly well worth taking a turn and getting off the main multiplex highway for NO EXIT, a true no “frills” chiller (brrrr) thriller.

3 out of 4

NO EXIT is now streaming exclusively on Hulu

CHERRY (2021) – Review

Here’s a film whose behind-the-scenes (and one in “in front”) story may be just as, if not more, interesting as the plot. It addresses the ages-old battle between art and commerce, but it’s not to say that the two are always mutually exclusive. To put it a bit more clearly, this highlights the cinematic clashes between big-budget blockbusters and small gritty “indie” dramas. Also it offers a test for the “career trajectory” of filmmakers. And it’s not a new thing. After the box office explosion of STAR WARS in 1977, George Lucas told the press that after producing the two follow-ups, his new directorial efforts would be personal “artistic” experiments. But when he got back in the director’s chair 22 years later he returned to that “galaxy far, far away” for the “prequel trilogy”. Similar thing happened a few years later with Peter Jackson, who talked up intimate dramas after the Lord of the Rings trio, then remade KING KONG before he was back in Middle Earth for the HOBBIT flicks. Now here’s the directing duo behind, literally, the biggest money-making spectacular ever, who are really going ahead with those old intentions as they get their “down and dirty” with the drug-fueled crime thriller CHERRY.


Well, perhaps this is more a fable ala’ Gump or Garp, though more brutal and cautionary. As we meet our twenty-something hero, merely called “Cheery” (Tom Holland), he’s cruising the “mean streets” of Cleveland prior to his latest bit of lawlessness. Ah but he wasn’t always a criminal. His story jumps back nearly a decade, when he was drifting between his college classes, partying with his old neighborhood “buds” Forrest Goodluck (James Lightfoot) and “Cousin” Joe (Michael Gandolfini), and bouncing from one eatery gig (busboy, bartender) to the next. Then he was “gobsmacked” by his “fantasy girl made real” Emily (Ciara Bravo). Though she’s from “the right side of the track” , the two begin a romance. All seems well until Emily tells him that once the semester is over, she plans to continue her studies elsewhere, perhaps overseas. Cherry decides his best option for the future would be as an Army medic and enlists. Ah, but she’s changed her mind about leaving, so the pair impulsively tie the knot prior to his basic training. The near constant abuse from the drill sergeants can’t prepare him for the horrors of early 21st century Afghanistan. Cherry returns to the states a broken man whose “night terrors” are treated by government prescriptions, including Oxycotin. From there it’s a quick trip to heroin addcition. After several tries to get her hubby “clean”, Emily joins him. Soon the “junkie” couple rack-up a massive debt to the local supplier known as “Pills and Coke” (Jack Reynor). His threats of violence seemingly leave Cheery no choice but to begin his crime career by knocking off local banks.Which circles right around to our initial introduction to him. Can Cherry end this vicious circle before both he and Emily end up in the grave or in prison?

Taking a break from the red and blue bodysuit, Holland reminds us of his formidable range, showing us that he’s much more than the nice young lad next door (though, making the web-slinger so relatable is no mean feat itself). Can it really be nine years since he astounded audiences with his stunning work in the tsunami tear-jerker THE IMPOSSIBLE (I recall thinking that audiences should keep an eye out for him)? In this lead role, Holland convincingly morphs from casual college kid to hardened war survivor to burnt-out scavenger forced into felonies. Through it all, we see Cherry’s adoration for Emily even through his often stoned eyes, which gives the often irresponsible drifter a real beating heart beneath the needles and the stick-ups. Cherry is truly a multi-layered character and Holland makes his every struggle vibrant and real. It helps that he’s got crackling chemistry with screen newcomer Bravo who strives to remove Emily from her unattainable “goddess” pedestal, as she shows us the “cracks’ in her seemingly perfect image. At first we believe that she’s merely toying with Cherry who’s her “walk on the wild side”, but Bravo shows us Emily’s sensitive side as she truly lets him into her heart. This makes her descent into Hell, tangled up as she tries to saves her soulmate, so devastating, especially as she shoots up during her school day. And though he doesn’t appear until the story’s tense third act, Reynor is pure banal evil as the dealer exploiting the couple. “P and C’ is full of blustery threats, but revealing his true nature when “aiding” Cherry’s “cash grabs”. A sequence in which he taunts an innocent with his deadly wares is truly chilling.

And the director duo collaborated with Holland three times before. Of course, we’re talking about the Russo brothers, Anthony and Joe, who put together the biggest hit of the Marvel Cinematic Universe, and of all time, AVENGERS: ENDGAME. Here’s they’re returning to their 2002 roots (WELCOME TO COLLINWOOD) with the low-rent crime caper adding maybe a touch of their character comedy YOU, ME, AND DEPREE (though not many laughs on this one). The men are able to “go with the flow” of this fable of one man’s folly and fortunes, going from first love in the first chapter (and the film does have chapter headings) to exhausting battle drama (the basic training scenes have a true FULL METAL JACKET vibe, while the desert shoot-outs are as harrowing as last year’s THE OUTPOST) before settling into an addiction crime spree right out of DRUGSTORE COWBOY. Giving the film much of its dramatic heft is the screenplay by Angela Russo-Otstot and Jessica Goldberg adapting the Nico Walker novel, but there’s still touches of keen satire as they dole out funny spoof names of Cherry’s “targets” ( “Capitol None” and “Sh*#ty Bank”). The epilogue may feel a tad rushed, but by the end, you feel like you’ve truly shared a seat in a rollercoaster of a life. The Russos haven’t lost their touch with the “reglar’ Joes” after bringing life to our modern mythology (though the pace doesn’t zip as with that previous epic). Like its namesake, CHERRY is often sweet, but its look at the “have-nots” can be bitter and very biting. It’s a vivid “vacay” from the MCU.

3 Out of 4

CHERRY opens in select theaters on Friday, February 26, 2021.

CHERRY also streams exclusively on Apple TV+ beginning March 12, 2021

BEAUTIFUL BOY – Review

TimothŽe Chalamet as Nic Sheff and Steve Carell as David Scheff star in BEAUTIFUL BOY. Photo courtesy of Amazon Studios

Addiction is an issue that seems to touch everyone in some way, directly or in directly, through family or friends. In BEAUTIFUL BOY, Timothee Chalamet gives a heart-wrenching performance as a teen who goes from alcohol to meth despite being a good student with a promising future and the support of his loving father, played by Steve Carrell. Based on dual memoirs by the father, David Sheff, a freelance writer, and his son Nic, BEAUTIFUL BOY takes us on the harrowing roller coaster ride of addiction, recovery and relapse, as this family goes through the steps of secrecy, denial, treatment and dashed dreams.

Timothee Chalamet, who many audience may know from his Oscar-nominated role in last year’s CALL ME BY YOUR NAME or his role in LADY BIRD, plays Nic Sheff, a bright boy from a financially-comfortable, loving family. Nic seems to have everything going for him yet he falls into addiction. Raised by his father (Carrell) and stepmother Karen (Maura Tierney) after his parent’s divorce when he was young, Nic lives in an idyllic home in the woods outside San Francisco, where his younger brother and sister play in the sprinkler and his artist step mother paints. His father is proud that his son has been accepted by every college where he applied, so he is taken aback when his son hints that he might not want to go to college. Angrily arguing, son Nic drops the subject and resumes his pleasant facade.

Flemish director Felix van Groeningen has a rare gift in having two memoirs to draw on for this drama, his first in English. In exploring this family’s journey through addiction. BEAUTIFUL BOY is able to present both the father’s viewpoint and his son’s view of this experience, which the director does by shifting focus from one to the other. Early on, Carrell’s David is focused on how close he and his son are, reinforced in a series of flashbacks to Nic’s childhood, and his disbelief that there could be something going on with him of which he was not aware. Reading Nic’s journals provides a startling wake-up call and insight on his son’s inner growth and buried turmoil, something any parent might note.

Nic’s mother, played by Amy Ryan, is involved in her son’s life but David is the primary parent. While David seems a loving parent, his tendency to bossiness, to argue and criticize crops up frequently in his dealing with both his ex-wife and with son Nic. Nic responds by shutting down, and diffusing his father’s pressure with a charming smile and seeming acquiescence.

Director van Groeningen’s drama offers plenty of insights on how this kind of tragedy can happen in any family, even a loving one that seems to being doing everything right. Likewise, Nic seems like a kid unlike to seek refuge in drugs. A talented writer and artist, he is involved in school activities and seems on a good life path, yet Nic progresses from drinking with friends to experimenting with various drugs. When he gets to meth, Nic writes in his journal that “the world went from black and white to Technicolor.” Instantly, it becomes his drug of choice, with disastrous results for everyone around him. It takes David a while to comprehend what is happening with his son, but he is tenacious in his attempts to rescue his son.

Anyone who has encountered addiction first hand knows rescue has to come from within the person addicted, and family and friends can merely help. BEAUTIFUL BOY explores with honesty and realism the various aspects of addiction and this family’s attempt to cope with it. This is not an easy film to watch, particularly for those more directly touched by the subject, but the fine performances and fact-based story, from two viewpoints, gives the film a compelling strength.

The cast is particularly good, with supporting roles played by Kaitlyn Dever as Nic’s girlfriend Lauren and Timothy Hutton as a therapist.

Where the film often falls short is in its heavy-handed score, including the classic blues song St. James Infirmary and the odd insertion of Sunrise, Sunset from “Fiddler on the Roof.” The music is sometimes jarring and damps down any moments of hopefulness.

Nic and his family go through many of the awful experiences of addiction – with bouts of rehab, relapse, brushes with overdose,deceit and denial, and enabling behavior, although, unlike many, Nic seems to avoid serious involvement with law enforcement. Nic’s addiction divides the family, with some wanting to distance themselves and others doing too much.

Timothee Chalamet is outstanding in this difficult role. No matter who far Nic sinks into this whole, Chalamet retains a certain level of our sympathy for his pain and powerless against the drug. Some scenes between him and Carrell are simply heart-rending, as we see both the gulf of understanding between them and the love that wants to bridge it.

This is a worthy subject but a hard film to watch, and it does not end with the most positive note, since recovery is a long process. Chalamet with likely be a name mentioned for awards this coming season, as his performance confirms the depth of his talent, and his performance alone is one reason to take in this true-story drama.

RATING: 3 1/2 out of 5 stars

Top Ten Tuesday: The Best of Michael Fassbender (So Far)

Michael Fassbender is perhaps the most talented, fastest rising international star. Originally born in Germany, Fassbender has grown rapidly from being primarily a television actor into a worldly thespian of staggering proportion, garnering ecstatic praise both in Europe and the United States for his unflinching, intense performances in roles that are often controversial and extraordinarily demanding. Fassbender has received some of his breakout roles in genre films, a cinematic place that only rarely produced tremendous genre-spanning talent.

In honor of this tremendous new acting force, we’ve compiled our list of Top Ten performances from Michael Fassbender. His latest role may prove to be his most stellar, even controversial one yet. Appearing in his second film directed by Steve McQueen, SHAME has Fassbender portraying a sex addict. SHAME is opening soon, with dates varying depending on your location.

Continue reading Top Ten Tuesday: The Best of Michael Fassbender (So Far)

Visit JAKE’S DEAD Blog, new Indie Horror flick!

jakesdeadmovie

JAKE’S DEAD is, perhaps, what I am going to call the coolest looking, most promising new indie horror flick that isn’t being talked much about. Well, hopefully I can help change that!

I first stumbled upon this movie while wasting some time on twitter, where I found the official JAKE’S DEAD twitter page and followed it to the official JAKE’S DEAD Blog. There I found a synopsis and a teaser trailer and was instantly mesmerized and curious, wanting to see more. Now, with the first actual trailer available on the site, you can see just what I mean. Not only is it a really cool story and concept, but JAKE’S DEAD has amazing production value for being such a small film. Here’s the synopsis…

Jake’s Dead is a feature film being produced by Twisted Arrow Productions. Created by Jack Graham, Tylor Bohlman and Zac Cooper. The film stars Joe Bohn as Jake, along with his brother Mike played by Zachary Gossett, up agaist their dealer, played by Jake Lyall, as he shows them a thing or two about what it means to be a real addict. Featuring the super-drug RnJ, this Indy horror takes us from heaven to hell and back again. — Jake’s Dead Blog

For trailers, behind the scenes goodies and more, check out the Jake’s Dead Blog HERE. Also, head on over to the JAKE’S DEAD twitter page and friend @jakesdead to follow their progress and show your support for indie horror.

Review: ‘The Despair’

thedespair

‘The Despair’ is an independent drama written and directed by Mike Crawford. The film can also be considered a psychological horror, pitting the addicts against their addictions, struggling to survive their the dangers of their habits. The film was shot for an extremely low budget of $30,000 but what it lacks in expensive production values it makes up for with an authentically honest script, quality acting and Crawford’s ability to create an engaging film that draws on the strengths of docudrama filmmaking combined with suspense and a true interest in and concern for the characters that develops during the journey we share with them.

The story follows two drug addicts, Sean (Nicholas Wilder) and Cliff, played by Josh Davidson (Perkins 14), along with five other addicts who decide to leave their rehab facility to go stay out in the woods in Cliff’s uncle’s cabin. Sean appears genuinely interested in making a recovery, but is confused and the influence had on him by Cliff does not push him in the right direction. At first, the group is content with hanging out and just having a relaxing and sober good time at the cabin, but as tensions build and anxiety begins to set in, the group begins to fall apart and each of them must make a decision, continue to let their addiction control and ultimately ruin their lives or to clean up and give themselves a chance to actually live happy, healthy lives.

Similar to the magnetic draw that occurs while watching Larry Clark’s ‘Kids’ but with a higher degree of effectiveness, ‘The Despair’ relies on the documentary feel of the film to pull us into the story and listen to what the characters have to say and how they interact. Our interest develops from opposite sides of the spectrum. On one hand, we are drawn to the excitement of the self-destructive nature of this group of addicts, while on the other hand we want to see them overcome their weaknesses and make positive changes in their lives.

The story of the group’s trip to the cabin is inter-cut with scenes of solitary character reflection and scenes of Sean during his psychiatric sessions that dive deeper into the underlying issues that drive him to his addiction. Throughout the movie, music plays a significant role. ‘The Despair’ has a perfectly descriptive soundtrack featuring a play list of great songs, depressing, emotionally draining and moody. The songs do not monopolize the film however, as the sound design is equally effective and fills the gaps between the songs with textural landscapes of ethereal audio.

One of my favorite scenes is in part three, just before the group goes exploring in a large, abandoned building in shambles. Crawford creates a visual montage of the group in various stages of being high. The scene is visually appealing, dark and ominous, but most of the credit for the scene’s success goes to Crawford’s creative and powerful use of traditional Tuvan throat-singing. The deep, gravely voices submerge the viewer into a dark but strangely alluring frame of mind to accompany the images on screen.

‘The Despair’ isn’t perfect. The film could use some additional editing and, while the cinematography is often effective, the handheld appeal loses it’s luster at times when it becomes a bit more like a sensory igniting MTV-style experimentation. There’s a fine line between effective use and over-use of techniques such as jump cuts and zoom shots.

Aside from this, I really found little to complain about with ‘The Despair’. However, I will say the ending is not one to take home to meet your mother… but, that’s not a bad thing. Mike Crawford clearly has an eye for drama based in reality and the talent of a promising writer, forcing me to consider what he might be capable of producing on a bigger budget. For the time being, ‘The Despair’ is available free to view on YouTube in nine parts.

Check out ‘The Despair‘ and feel free to leave comments regarding your reactions to the movie on this review. Also, check out the film’s Official Blog and MySpace Page.

[Overall: 3.5 stars out of 5]