Tag: Boston

THE INSTIGATORS – Review

It’s funny how an old TV catchphrase will just magically pop into your brain. While watching this new comedy action caper I recalled George Peppard as Hannibal Smith, leader of the NBC 80s ratings juggernaut, “The A-Team”. With a big cigar clenched between his pearly whites, he’d grin and exclaim, “I love it when a plan comes together” as the bad guys’ vehicles would flip over (though there had to be a shot of them climbing out of the windows unscathed for the censors). Well, the two main characters of this film might say, “I hate it when a plan falls apart”. And it does spectacularly for these luckless schmoes, actually played by members of the “Ocean’s Crew” (the 2000s reboot). And though they spend most of the story’s runtime trying to escape and survive, the title ironically labels them THE INSTIGATORS.


In the film’s opening minutes we meet one half of the duo, the stoic Rory (Matt Damon). He’s attending one of his mandatory therapy sessions at a Boston area VA hospital. He says very little, but a few comments concern the staff psychologist Dr. Rivera (Hong Chau). He talks of making a set amount of money (down to the decimal) and then “cashing in his ticket”. Meanwhile, a “low-rent” petty criminal named Cobby (Casey Affleck) gets a grade-schooler to activate the breathalyzer activator on his motorcycle. The two men cross paths at Mr. Kelly’s neighborhood bar. where a hustler named Scalvo (Jack Harlow) enlists them in a heist. The real mastermind behind it is restaurant owner/crime-boss Mr. Besegai (Michael Stuhlbarg) and his partner, bakery chef Richie (Alfred Molina). The big score ties in with tomorrow’s mayoral election. They think the challenger is no match for long-time crooked incumbent Miccelli (Ron Perlman). The big victory party will be held at a fancy riverport ballroom facility where lots of local business owners will show up to “kiss the ring” as they pass along huge amounts of cash. Before the armored car arrives to pick up the payola, the trio plans to sneak in via motorboat and lift the moola. But the next day, the unthinkable happens…a major political upset. However, Scalvo and his bosses decide to proceed. Everything that can go wrong does, and Rory and Cobby are on the run from Besegai’s “retriever” Booch (Paul Walter Hauser) and Michelli’s ex-police enforcer Toomey (Ving Rhames) along with the entire Boston police force. Can these two bunglers “blow Beantown” and cross the border to chilly Canada? And how does Dr, Rivera fit into the big getaway?

The two main actors prove to be a fairly potent comedy pairing. Damon would be the “straight man” of the two, and he more than fulfills that function as Rory is rigid, maybe “uptight”, and somewhat obsessive over the details, frustrating partners as he wants to write everything down, or needing tidbits repeated. Affleck’s Cobby is the wildcard as he scoffs at Rory’s concerns and fears, while making sure his needs are met, insisting he drive with a painful shoulder wound for fear that he’ll be dumped out on the road. The duo becomes a trio with Chau as the clinical Rivera who upholds her ethics and throws out bits of “self-help jargon” as they dodge bullets and evade endless police cruisers. Harlow is quite funny as the team leader who really doesn’t inspire fear or respect as he tries to mimic pop culture tough guys. Much more intimidating is Stuhlbarg as the perpetually annoyed crime boss, who can’t believe he can’t get smarter “goons”. Molina is much more “laid back” as his “right hand” who’d rather just “make the donuts”. Perelman dominates every scene as the blustery, greedy politico who can’t give up his power, or the graft. And he’s hooked on heaping abuse on his assistant, played as a jittery “toady” by the marvelous Toby Jones. Hauser is dripping with sarcasm and snark as Besegai’s “clean-up man”, while Rhames is at his scary surly best as the SWAT tank-driving “muscle” for the Mayor.

So, how do you celebrate 30 years of feature film directing? If you’re Doug Liman you release two big action comedies…to streaming. Earlier this year he was in a big “kerfuffle” with Amazon Prime over his remake of ROAD HOUSE, and now the main outlet for his newest flick is Apple TV+, though it got the briefest, very limited theatrical run. It’s a shame since both movies would have great appeal for fans of big stunt sequences. While the earlier film focused on the fisticuffs, this one has the most auto-destruction perhaps since the original BLUES BROTHERS (both leave piles of “cop cars”) thanks to that SWAT tank, an armored car, and a fire truck! It’s just a shame that the terrific tech crew (stunts and pyrotechnics) weren’t in service of a stronger script. All we are told of Rory is that he’s a vet who wants to do right to the son taken from him, and we know even less about Cobby, other than his boozy behavior and a wonky flirtation with Rivera (talk about rooting for a couple not to “hook up”). Earlier I noted Damon and Affleck’s part in the Oceans franchise, which helps hammer home that this is the opposite of those slick caper stories, as these bunglers are closer to the early 70s cult fave THAT GANG THAT COULDN’T SHOOT STRAIGHT. If only some of the earlier movie’s grimy charm was upgraded. The impressive supporting cast is really putting in an effort, but some of the twists and turns stretch reality and logic too much. The Boston locales are great (unlike this week’s IT ENDS WITH US this town looks frigid and very “lived in”). Unfortunately all that talent never truly ignites or invigorates THE INSTIGATORS.

2 out of 4

THE INSTIGATORS is now streaming exclusively on Apple TV+

IT ENDS WITH US – Review

It’s only been a couple of weeks since the Summer’s biggest box office smash, y’know those two “fightin’ friends” from the MCU, so it feels a bit odd that a very serious “issue” drama based on a best seller is dropping into the multiplexes. Really, shouldn’t this be an “awards contender” for the much cooler Fall months? Well, literary adaptations other than the “YA” franchises do often get a Summertime release (two years ago WHERE THE CRAWDADS SING arrived that July). And this film does star the wife of one of the aforementioned Marvel spandex-wearing icons. Can she lure away some of the Summer cinema crowds as the novel’s heroine who declares (yes, she actually “drops” the tile in the “third act”) IT ENDS WITH US?

Oh, the actress mentioned above is Blake Lively, who plays the story’s “main focus”, thirty-something Lily Bloom. We first encounter her as she drives back into her family’s lush suburban neighborhood and is greeted at the front door of her two-story childhood home by her teary mother Jenny (Amy Morton). Sure, she’s happy to see Lily, but the reunion happens because of the death of the patriarch Andrew (Kevin McKidd). A visit to her old bedroom evokes many memories, some nice and some not-so-nice. Her nostalgia is interrupted by Jenny who reminds Lily that she will be a speaker at the memorial service (“Just say five good things about him”). Ultimately Lily is unable to come up with anything and marches out of the church as a shocked Jenny looks on. Then Lily returns to Boston and decides to reflect while sitting on the ledge of the top-floor terrace of a downtown apartment highrise. That’s where she meets one of its residents, smoldering (along with tall, dark, and handsome) neurosurgeon Ryle Kincaid (Justin Baldoni). The two flirt and even share some “naked truths” with Lily offering up the biggest stunner. She lost her virginity in high school to a boy who turned out to be homeless. It’s then that the hospital calls him and they go their separate ways. For Lily, she’s rented out some retail space and is turning it into a “high-end” flower shop. During her downtime, Lily recalls that long-ago secret romance with the mysterious loner Atlas (Alex Neustaedter). Her thoughts are interrupted by a quirky local named Allysa (Jenny Slate) who wants to be the store’s first staffer. After the place is open to the public they get their first customers, Allysa’s zany investor hubby Marshall (Hasan Minhaj) and Allysa’s brother…Ryle! Small world! The big romance truly begins, but his darker side emerges soon after they frequent the “hot” new trendy restaurant “Root” which is owned and managed by the now adult chef Atlas Corrigan (Brandon Sklenar). Will the man from her past open her eyes to the warning signs coming from Lily’s current love?

This story’s stumbles are somewhat smoothed out by the confident bravada performance of Ms. Lively, doing some of her best work since that underrated gem A SIMPLE FAVOR. As Lily she projects a no-nonsense demeanor though seemingly aloof to her family tragedy, her eyes tell us that it was a troubled childhood. We see some of that melt away as she begins her relationship with Ryle, but the tough exterior holds as she is determined not to be a new “notch on his bedpost”. We see another side when she’s reunited with that lost first love, making way for her awakening to the dangerous path before her. Baldoni is all smooth silky charm as Ryle, somehow giving their “meet cute” a sultry edge. This gives even more power to the cruel twists in his behavior much later. Slate is the usual scene stealer as the story’s comic relief, doing a modern-age riff on the pampered rich diva who thinks the working class is a fun escape from the “high life” (think a younger Karen from “Will and Grace”). Minhaj is her perfect match as the energetic “money mover” hubby Marshall. Sklenar is effective as the somber, often stoic but empathetic first love Atlas (something in that name) who tries to hide the feelings that Lily has rekindled. Unfortunately, there’s little resemblance to his teenage version played with a defiant dignity by Nuestaedter. On the other hand, Lively’s teen version really works thanks to the splendid casting and dramatic chops of Isabela Ferrer who perfectly captures the euphoria of a first infatuation.

I was surprised to see that the director/producer of the film is the male lead Baldoni, which is some impressive “heavy lifting”. Interestingly his last feature was another literary adaptation from five years ago, FIVE FEET APART. He never lets the pacing sag, even as he indulges in several cliche romantic montages (“boozin’ and bowling”) and veers into the area of “Nancy Meyers lifestyle porn” as we take in Ryle’s “ready for the magazine layout cover shoot” digs. This makes the shift in tone, into a domestic violence drama, so jarring. Yes, it’s an important topic, but so much is hidden from us (Lily even refers to herself as an “unreliable narrator”) that it deflects the message, Plus there are so many wild “callbacks” and coincidences. And like most “rom-coms” a major conflict could be quelled with just a few words (Lly is reduced to chanting a mantra of “Baby…baby…”). There’s an opportunity to explore the motivations of the abuser, but one character provides an explanation that’s too simplistic, reminding me of the Simon Oakland denouncement in the last minutes of the original PSYCHO. Then the final act tosses another element in that isn’t really explored in order to provide an inspiring final fade-out. Maybe Christy Hall’s screenplay from Colleen Hoover’s best-seller needed another “pass” or two. Perhaps fans of the book will enjoy the movie “spin”, but unaware moviegoers may think they’ve entered a high gloss basic cable TV “message movie” with the unwieldy histrionics of IT ENDS WITH US.


2 Out of 4

IT ENDS WITH US is now playing in theatres everywhere

EILEEN – Review

Finally, we’re entering into the first weekend of the final month of 2023. So naturally many of the films hitting the multiplex have the big holiday at the end of December as a setting or backdrop. Of course, they’re all upbeat celebrations full of family togetherness. Well, not always as proven a few weeks ago with the release of one of the year’s best films, THE HOLDOVERS. It’s a dark comedy centering on a split family ignoring a son. So indeed it is a bit dark, compared to this weekend’s flick, which is nearly pitch-black, closer to a film noir than comedy. And it’s a tragic drama as we observe the dismal life of a young woman named EILEEN.

Right at the start of this tale, we’re introduced to Eileen (Thomasin McKenzie), a lonely woman in her twenties living in the Boston area around sixty years ago. We first see her silently watching amorous couples in a “lover’s lane” from her wheezing ancient auto, From there she begins her daily routine, starting her “9 to 5” job as a secretary at the local boys’ detention center (and enduring loads of verbal abuse from her co-workers). Luckily she can fantasize about a hunky guard. From there she returns to the squalid shanty she shares with her boozing papa Jim (Shea Whigham), former police chief of the village. Of course, he wakes from his drunken stupor long enough to toss off some insults and bemoan the loss of his wife, Eileen’s mother. At the day’s end, she trudges up to the attic, enjoys some candy (she sucks away the coating and spits the rest out), and passes out on a flimsy cot. The alarm barely rouses her at dawn, giving her just enough time to prepare breakfast for Dad (he sticks to his bottle as he belittles her), and hope that the battered car will get her to work. Ah. but today is different. A new therapist has arrived, the blonde, sophisticated Dr. Rebecca (Anne Hathaway). After all the welcoming hoopla is done, Eileen is stunned when the sultry doc expresses interest in her life. Eventually, the two share a lunch break and even meet for a post-work cocktail at the local “watering hole”. But aside from Eileen, Dr. Rebecca is focused on one “juvie” in particular, Lee Polk (Sam Nivola), who is there after murdering his father. But will her work turn into an obsession, leading to more time “after hours” with her new friend? And could this “relationship” lead to true “freedom” for Eileen?

The title role marks another interesting performance by one of our most promising young screen actresses. Since arriving just over five years ago with her dazzling debut in LEAVE NO TRACE, McKenzie has given us several memorable characters, always smart, but often soft-spoken. The latter trait is taken to extremes by her work as the painfully shy, often “blending into the woodwork” Eileen, eyes downward as disdain is heaped upon her. She’s slowly suffocating from a yearning for human connection in order to breathe. And when that happens, McKenzie alters her facial expressions and body language to convey Eileen’s “blooming”, bursting out of that “shell”. As the instigator of that change, Hathaway ignites the dull drab settings in an interesting twist on the iconic icy “cool blondes” that Hitchcock adored. Rebecca projects an aloof superiority to those at work, so it’s a surprise when she “zeroes in” on the ignored office “drone”. Is it a seduction, perhaps even a bit of “grooming” (comparisons to Cate Blanchett as CAROL arise), or is she “playing” with Eileen, much like a cat “toying” with a mouse before the final “pounce”? It’s a splendid departure from her usual “likable” roles and Ms. Hathaway truly rises to the challenge. Rounding out the film’s “trifecta” is the always engaging Whigham who somehow is able to inject some level of sad humanity into the blustery drunkard who has basically “checked out’ of life, save for spewing venom at his daughter, and only leaving his hellish abode to stagger the street, waving his pistol while ranting about the non-Catholic “interlopers” (“Them Lutherans!”). Whigham is often a “rough around the edges” charmer, but this punishing papa adds more fuel to Eileen’s interest in her new (maybe more than) friend.

With his second feature film (hard to believe it’s been seven years since LADY MACBETH), director William Oldroyd creates a dark grimy psychological character study, working from the screenplay adaptation of Otessa Moshfegh’s novel by her and Luke Goebel. But much like his last film Oldroyd again provides us with an offbeat central woman at the story’s core, though there’s also a supporting player to empower and transform her. Plus he’s adept at throwing us a “curve” since it appears to be a somber look at some in deep emotional stress, perhaps with a real “sexual panic”, then veers into an erotic “game”, but diving into an exploration of guilt and justice (and much like a parking garage, nothing “nice” ever happens in basement settings of a movie). And though it’s set in the mid-1960s, there’s no nostalgic “glow” to be seen, rather it’s a dirty stale smoky haze with ugly dangerous cars and stifling attire. This story is full of interesting heroines and strong performances, but the last moments of the third act feel rushed and vague. Of course, we don’t always need to know the exact futures of the leads, but it just seems as though too many threads are left to dangle and fray in that cold Boston breeze. Fortunately, this uneasy finale doesn’t distract from a powerful monologue in that basement (closer to the bowels of Hell) and from the superb actresses involved who invest us in the unusual “bond” between Rebecca and EILEEN.

2.5 Out of 4

EILEEN is now playing in select theatres

CONFESS, FLETCH – Review

Yes, it’s a bit late for a flick based on a “beach book’ (usually a paperback you’d read while getting your tan near the water’s edge), so how about something more suited to Autumn, perhaps a movie based on a mystery one would read while enjoying a warm beverage next to a fireplace? Oh, I forgot to mention that this particular film is part of a literary series featuring a much-beloved sleuth. Now, we just had a visit from Hercule Poirot a few months ago, so his mustache is “in mothballs” for the moment. Anyway, this character is not known as a detective or a “consultant” (like the fellow at 221B Baker Str.). The title “hero” of this tale is an investigative reporter, or at least he was (he’s telling everyone that he’s “retired”). And he’s been absent from the screen for 33 years now. Oh, there are police detectives aplenty as this “man of leisure” gets involved with art heists, forgery, kidnapping, and murder. And, of course, the cops are imploring him to CONFESS, FLETCH.

It all starts (maybe “kicks into high gear”) on a warm Boston evening. In a “high-end” urban neighborhood Irwin Maurice “Fletch” Fletcher (Jon Hamm) unlocks the front door of the rental home where he’ll be staying during his latest “research trip”. In the lobby is a welcome note under a wine bottle. And several feet away from that is the lifeless body of a twenty-something blonde woman. Fletch calls the police (the general number, not 9-11), and soon opens his door to the homicide squad led by Detective “slo-mo” Monroe (Roy Wood Jr.) and his aide, Detective Griz (Ayden Mayeri). During questioning, Fletch explains how this “west-coater” came to be there…via Italy. He insists that he’s “retired” from Investigative journalism, but a hefty”retainer” prompted him to fly to Venice to meet with an heiress named Angela AKA “Andy” (Lorenza Izzo), who’s looking to locate several very pricey paintings from her father’s collection. Andy suspects that her snooty stepmother, who insists on being called “The Countess” (Marcia Gay Harden), had a gloved, jeweled hand in it. To complicate things further, Andy’s pop, the Count, has been kidnapped. The ransom: a multi-million dollar original Picasso. The pot is “sweetened” for Fletch when he begins an affair with Andy leading to their engagement. But he leaves her for “Beantown” where all leads point to an established art dealer, and EDM fan (Kyle MacLachlan). The police release Fletch as a “person of interest”, so he’s got to “shake them” to find the art and the reason why somebody would “set him up” on a murder charge. Over the next few days, Fletch, using several aliases, discovers several suspects including the rental home’s owner Owen (John Behlmann), his soon-to-be-ex-wife (Lucy Punch), and their spacy hippie neighbor Eve (Annie Mumolo) while dodging Monroe and Griz. But what happens when his new fiancee is added to that roster? Can Fletch’s former boss, newspaper editor Frank (John Slattery) point him toward the real “perps” before the “frame sticks”?


The role of the “snarky sleuth” feels like a near-perfect fit for Hamm as he tries to go from an iconic TV role (Don Draper) into leading man roles in feature films (he scored recently with his supporting role in TOP GUN: MAVERICK). While he makes good use of his “matinee idol” looks (we don’t question the quick pairing with Andy), Hamm finally gets a chance to showcase his superb comic skills that we’ve seen on TV (great hosting gigs on SNL, and a recurring role on “30 Rock”). And whether tossing off an effortless one-liner or a blistering “burn”, or going “all in” as a zany phony expert, Hamm puts his distinctive mark on the beloved “righteous rascal”. He may be at his “best” when verbally sparring with Wood as the laconic Monroe, whose “laid-back” style lulls many into letting their guards down. Fletch may think that he can charm his way around him, but Wood can “throw down” with him when needed. Though he flummoxes his co-workers, particularly the often exasperated Griz, played with a perfect “slow burn” by Mayeri. And it’s great to see Hamm back with his old “Mad Men” co-star Slattery as they share a warm rapport as two pals who know each other’s “MO”. Much as in ONCE UPON A TIME IN HOLLYWOOD, Izzo is a stunning Italian femme fatale, who pushes Fletch until he needs to push back. Screen vets Hardin, MacLachlan, Punch, and Mumolo also score big laughs as the loopy “red herrings”. Or are they?

So, after countless attempts to bring the character back to the big screen (from Jason Lee to Zach Braff to Joshua Jackson, among others), director/co-screenwriter Greg Mottola (who adapted Gregory McDonald’s 1976 novel with Zev Borow) is the one to “reboot’ (and maybe “revamp”) the wiseacre sleuth. So, can he move out of the shadow of Chevy Chase’s late 1980s efforts? Yes, I’d say that it strives to be “its own animal” and largely succeeds thanks to Hamm (who was part of Mottola’s last film KEEPING UP WITH THE JONESES). and his supporting ensemble. Unfortunately, the new entry has the same problems as its legacy in that the central mystery is, well, almost as stale as Colombo’s cigars. Twists and turns, along with double and triple crosses are tossed in with some “floating” a long, long time before their “payback”. But, like the earlier mentioned Poirot movies, are you that concerned over “pinched” paintings, although the murder “set up” gives it a bit of much-needed urgency (and yet, there’s still that “lull” around the one-hour mark). Nope, this is merely an excuse for our hero to pelt the dense and pompous with insults and try and bluff his way out when a ruse starts to crack. So is this the start of a new movie franchise? Well, probably not though it would be an entertaining occasional cable or streaming feature. So, unless you’re a diehard Chase devotee, you’ll chuckle many times as those in charge try to compel IMF to CONFESS, FLETCH.

3 Out of 4

CONFESS, FLETCH is now playing in select theatres and is streaming as a video-on-demand via most services.

GODMOTHERED – Review

So, who could use a little magic? This year, who couldn’t, even with just a few weeks left in 2020? We’re not talking about luck or “good fortune”, but rather the sprinkly, sparkly spells that come straight from witches, pixies, and wizards. Sure, that’s the stuff of faerie tales, but wouldn’t it be great if that mythology had some real-life basis? Sweet, huh? Now other than big blue “motor-mouthed” genies, who’s the big “wish-granter”? Just ask the dazzling blonde rockin’ those glass slippers. She’ll tell you from first-hand knowledge that it’s pretty great to be GODMOTHERED. But would that “fly” today, even using lotsa’ pixie dust?

That question is answered in the new film by taking a trip to another dimension. Where do faerie godmothers come from? Why Motherland, of course. But things are pretty dismal there, as 21st century Earth folk just don’t believe like they used to. The “GMs’ in the magic classes are pretty downbeat, except for the youngest one “in training”, the bubbly smiling Eleanor (Jillian Bell). But she’s even dismayed by the unexpected appearance in class by the “queen mum” and ruler of the land Moira (Jane Curtin). Unless some human is helped, the whole place will shut down and cease to exist. Things seem hopeless, but Eleanor won’t give up. Scouring the “request files” she finds one lonely letter, from little Mackenzie Walsh in Boston, USA. Without Moira’s knowing (she wouldn’t approve), Eleanor, with the aid of her roomie Agnes (June Squibb), dashes through a mystical portal to our world. Thing is, she’s still getting the hang of her wand, so she hitchhikes to “Bean-town” only to discover that her last chance isn’t a child (that letter had been there a while). Mackenzie (Isla Fisher) is the single mother of two young women, Jane (Jillian Shea Spaeder) and Mia (Willa Skye) who’s working as a news segment producer for a struggling TV station. Of course, she thinks Eleanor, in her frilly pink ball gown, is a tad “touched” in the head. Can Eleanor possibly get her “spell-casting act” together and get the Walsh family to believe in magic before that portal closes and Motherland is no more?

After stealing scenes in several studio ensemble comedies (22 JUMP STREET, ROUGH NIGHT, THE NIGHT BEFORE) and headlining an indie (BRITTANY RUNS A MARATHON), Bell looks to expand into family flicks as the simple sunny Eleanor. She succeeds for the most part, due to her fearless comic commitment (getting pelted with pumpkin mush while in that pink hoop dress) and slapstick skills (trying to control a wand that seems to have a mind of its own). It’s a smooth stroll from the hard-partying gal-pal to the sweet, clueless, and clumsy conjuror. Luckily the character has a superb straight-man, er…woman, and “reality buffer” in Fisher as the sour, cynical Mackenzie whose tough “outer layer” is slowly melted away by Eleanor’s optimism. She’s got great support at home with the two talented young actresses playing her daughters. Skye’s Mia hasn’t quite shaken her sense of joy and wonder, while Spaeder as big sis Jane is still haunted by the family’s past tragedy which almost stifles her creative musical talents (she’s been given the big solo at the holiday pageant). As for “Mack’s” work “fam”, Santiago Cabrera is an affable encouraging “chum’, who may become something more, as her “roving reporter” Hugh Prince (hmmm…that last name). Much of that applies to Mack’s BFF Duff played with a subtle sense of snark by Artemis Pebdani. Of course, not everybody can be nice and helpful (although both certainly apply to the always fun Squibb as Agnes). Bell’s BRITTANY love interest Utkarsh Ambudkar provides a smidge of comic villainy as Mack’s rating and publicity (“Gotta’ go viral!”) desperate boss Grant. And though she’s tart and intimidating, Curtin as Moira proves to be the “tough love” matriarch that Eleanor needs, though she has a real scary regal vibe about her.

A veteran of two BRIDGET JONES films, director Sharon Maguire does a fairly good job of keeping the story from collapsing under excess whimsy while eliciting great comic work from the cast (would love to see Bell and Fisher teamed again for a more adult romp). Unfortunately, her efforts are often undone by a script that begs too many comparisons to the superior fantasy /modern-day comedy mash-ups ELF and ENCHANTED. Some of the plot machinations are predictable (somehow the station’s ratings skyrocket due to Eleanor’s mishaps) and inconsistent (that wand seems to work correctly when needed for the story). And the attempts at pathos are somewhat heavy-handed, especially in the big musical finale. The various locales around Boston are lovely, as is the “faerie-world” of Motherland (still too many historical problems with that word, though). Big kudos however for the charming “2-D” animated prologue which would be a great medium for a modest follow-up (a bit of a long-shot). Though it’s doubtful that this film could become a perennial fave like the aforementioned flicks, the smallest tykes may be entertained for a bit as their folks indulge in some “cyber-shopping” rather than getting GODMOTHERED.

2 Out of 4

GODMOTHERED streams exclusively on Disney+ beginning December 4th, 2020.

WHITEY: UNITED STATES OF AMERICA VS. JAMES J. BULGER – The Review

whitey-image

It’s been quite a while since we’ve had a decent real-life career criminal to ogle over in the media. It seems the days of Al Capone, Dillinger and Bonnie & Clyde have long since passed. Since then, we’ve had plenty of fictional films to fill in the void, but even THE GODFATHER and SCARFACE stop short of the infamous “based on a true story” appeal that gets us truly salivating.

WHITEY: UNITES STATES OF AMERICA VS. JAMES J. BULGER is a film that perhaps attempts to fill this void. This is not the story of the rise of a criminal empire, but the complicated and calculated decline of a lone wolf. This film indirectly chronicles the trial of James J. Bulger, a ruthless criminal loose cannon who ruled Boston with an iron first for some three decades. I say indirectly, because the film deals more directly with the emotional and legal aftermath of Bulger’s past actions.

In all fairness, WHITEY is not a dramatic film intended to entertain viewers, but rather a documentary intended to educate and raise questions. However, I could not help but feel trapped within a Bermuda Triangle of conspiracy theories and finger-pointing. As a documentary, I hope for a more engaging story that captures my attention through human experience and factual revelation. Instead, WHITEY ends up feeling like a 120-minute block of 24-hour cable news programming.

Director Joe Berlinger is best-known for his PARADISE LOST trilogy of documentaries, arguably one of the more monumental pieces of non-fiction filmmaking. Personally, I feel — not all — but a small portion of that is due to the hot button content and that BROTHER’S KEEPER is his most accomplished film, thus far. WHITEY never seems to establish a connection with the viewer. The two men we feel the most empathy for are given relatively minimal screen time in comparison to the film at large. Stephen Rakes, a man terrorized and extorted by Bulger, a man whose livelihood was taken and whose family was threatened — allegedly — by Bulger, ends up the ultimate victim.

For me, the priorities in WHITEY seem to be slightly misguided, focused more on the sensationalist nature of the story than the human element and the facts. Then again, this is a relatively recent story, fresh in our collective minds. This is a hot bed of media interest, now with Johnny Depp beginning production on a feature film about the criminal. In some sense, I feel the documentary suffers from having jumped on the bandwagon too soon. Had Berlinger allowed the topic to simmer and settle for a few years, allowing emotions to subside and minds to regain some objectivity, it could have made for a much more compelling piece of cinema.

Clearly, there is a sense of urgency built into Berlinger’s work. Documentary filmmaking, to some great extent, relies on the filmmaker’s ability to move at a moment’s notice and seize opportunities as they occur. After all, this is real life, not scripted tales that can be shot and re-shot until you get just the right take. With the PARADISE LOST trilogy, there was an even greater sense of urgency as these films were, in part, an effort to help support a case to free these three young men from death sentences for crimes of which they were wrongfully accused.

WHITEY has some strong moments, especially later in the film as we continue to follow Steve Davis, the brother of victim Debra Davis and regular friend in circumstances with Stephen Rakes. On the flip side, the brutal honesty and complete lack of remorse shown in interviews by Bulger collaborator Kevin Weeks is both repulsive and fascinating. I could not help but give the man credit for knowing, without compromise, what he was and not apologizing for that, but still feeling this was an unforgivably terribly human being.

In the end, once I managed to get there, I found myself somewhat informed but mostly exhausted after having waded through two hours of slowly paced, unfocused filmmaking. I am a patient man when it comes to viewing films. It is truly rare for me to have that tell-tale moment when you look at your watch during a film, but this occurred a couple of times in the second half of the film. Had this been strictly a cable television special, which is how it felt, I would be less critical, but as a feature-length film, I fear WHITEY: UNITED STATES OF AMERICA VS. JAMES J. BULGER is equally long and insignificant as its title.

WHITEY: UNITED STATES OF AMERICA VS. JAMES J. BULGER opens in theaters and Video On Demand on Friday, June 27th, 2014.

Opens in Los Angeles Friday, July 11th at Laemmle’s Royal in West L.A.

Overall Rating: 2.5 out of 5 Stars

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Tony the Production Assistant: Color Grading a Feature

We Are Movie Geeks welcomes guest blogger Tony Fernandez, a production assistant taking us inside the underworld of indie filmmaking. Continue reading Tony the Production Assistant: Color Grading a Feature

Review: THE TOWN

I’d love to claim I’ve not taken part in past bashing of Ben Affleck, but my conscience won’t allow me to type such a flagrant lie. However, what I can say is my opinion of Ben Affleck as an actor has changed substantially, in great part due to the fact that he is an excellent director. With that said, I humbly retract my prior comments of contempt for Affleck — the average actor — and replace them with a newly developed admiration for Affleck the filmmaker.

Ben Affleck first surprised audiences and critics alike in 1997 with GOOD WILL HUNTING, more for his outstanding writing efforts with Matt Damon, than his acting, but a decade later he truly showed what he’s made of when Affleck presented his directorial debut with GONE BABY GONE. Having proven him self worthy of the critics’ watchful eyes as a director, Affleck returns with THE TOWN, his sophomore effort as a filmmaker and the film follows suit as a powerfully engaging and smart drama. The story follows a local crew of bank robbers in Charlestown, a neighborhood in Boston, infamous for its reputation of producing more career thieves than any other place in the world.

Ben Affleck stars as Doug MacRay, mastermind and ring leader of the four-man crew, affectionately referred to by FBI Special Agent Adam Frawley (Jon Hamm) as the “not screwing around crew.” His best friend and brother-by-default Jim, played by Jeremy Renner, is a loose cannon with a temper. Jim — aka “Gem” — is a hot fuse and a potential liability to the more strategically planned, no-one-gets-hurt criminal philosophy that Doug attempts to live by.

Jeremy Renner shines in THE TOWN, displaying an intensity that takes his performance in THE HURT LOCKER to another level, not necessarily the “next” level, but a whole new level. As a viewer looking into these characters’ lives, Renner had moments that made me feel like my own safety and well-being was at jeopardy at his hands, most effectively when while he wasn’t actually being violent. Affleck’s acting has improved significantly since stepping behind the camera and additional praise goes to the performance given by veteran actors Chris Cooper and Pete Postlethwait in their rather small, supporting roles.

Business has been great Doug and company, especially when they’re the crew of choice, working for Fergie — aka “The Florist” — has its benefits. Fergie, played by Pete Postlethwait, runs a flower shop as a cover for what’s really a bookie operation, through which he also filters bank jobs for Doug’s crew. Fergie is also Jim’s father, so Doug feels a slight obligation to his adopted family’s business, but not so much that he’ll break his own code of honor.

During the crew’s second bank job, after a successful run of armored truck jobs, Doug gets his first taste of just how unstable Jim can be, resulting in the crew taking Claire, the bank manager, hostage. Courtesy of Doug and his code, Claire (played by Rebecca Hall) is freed, unharmed, but her freedom creates tension between Doug and Jim that permeates throughout the remainder of the story.

Overall, Doug’s a good guy, despite being a bank robber, so his relationship that develops with Claire is there with good intent, for more than one reason, but they both have secrets they’re keeping that can threaten everyone’s freedom. Doug is a likable character, but he’s not without his flaws and issues, the biggest of which is his obsession with his mamma, who walked out on him at the tender age of six. He’s spent his life looking for her. Doug’s father, played by Chris Cooper, is serving life for a robbery gone wrong.

THE TOWN is effectively slow and deliberate, taking its time to build the suspense and develop the dynamic web of relationships between the characters involved. Doug is a character somewhat torn by the conflict between his sense of debt to Jim, his professional commitment to Fergie and his relationship with Claire. Doug is trying hard to change, but he finds it difficult to simply turn his back on who he is, and the town that’s become such a part of him.

Visually, THE TOWN is bleak, conveying a sense of hopeless monotony in the routine for the characters, imprisoned by their own lives. While the story is filled with dialogue of personal reflection and real human drama, THE TOWN also boasts some top-notch action, especially during the climactic final job… the big one that Doug hopes will be his last. Creativity, energy and intensity are what define the final moments of THE TOWN, followed by a bittersweet ending.

Overall Rating: 4 out of 5 stars