Review – Page 33 – We Are Movie Geeks

A LEGO BRICKUMENTARY – The Review

Few things are as exhilarating to witness as the unbridled passion and joy that builders put into their Lego creations, and the same can be said of watching children play with these toys as well. That’s right. Lego building blocks are a popular toy for the imaginations of both the young and the old. Having been around since the 1950s, this timeless toy has a fascinating history and a seemingly unstoppable appeal for generation after generation. But, how did it all start and what makes it such a juggernaut?

Directors Kief Davidson and Daniel Junge have taken it upon themselves to explore and reveal the very essence of those questions and, as a result, have created what must be the most comprehensive and thorough detailing of one of the greatest toy inventions… ever! A LEGO BRICKUMENTARY is narrated by comedic actor Jason Bateman, whose voice is recognizable, but played as familiar in place of being funny.

This documentary provides the audience with an awe-inspiring level of history, anecdotes and curious knowledge of the second largest toy company in the world, despite the fact that they produce just a single category of toys… Legos. At its core, when you really consider the immensity of that accomplishment, its rather incredible. Knowledge nerds and trivia junkies will find this film irresistible, as will anyone with an honest passion for toys or even popular culture in general, as Legos have definitely entered into that broader realm of our society.

A LEGO BRICKUMENTARY, on the other hand, is not a fully realized perfect experience. The filmmakers did a fantastic job of avoiding the mass marketed, feature-length advertisement trap that would have meant disaster. At no point as a viewer did I feel I was being sold something, not did I feel I was being brainwashed into loving Lego (partially because I already do), but there still exists an unavoidable element of self-promotion that is tolerable, even acceptable. However, in doing so, there is a personalized touch that is lost, or at least minimized.

Despite all the wonderful facts and stories that go into forming the overall Lego story, the film ultimately feels a bit dry. Lacking any personality of its own, or of the filmmakers’ involved, nor any true stylistic uniqueness, A LEGO BRICKUMENTARY often feels bland and unemotional. Don’t get me wrong, the film has some funny moments, especially when the narrator, shown on screen as an animator mini figure, certainly brings out the inner child and the heart-felt chuckle. Even this, however, is borrowed from the LEGO MOVIE.

A great deal of the interesting information available in the film is presented as just that, interesting information not unlike what you may read in an article on the Internet, but in movie form with audio and video. This may appeal to the droves of Lego fans whose interest lies within meticulously constructing Lego sets into the carefully planned out builds pre-determined by the Lego designers. That’s all fine and dandy for those content with following instructions and recreating others’ visions, but what the film lacks is a more freely flowing, artistically minded approach to the many Lego fans who say “screw the instructions” and want nothing more than to allow their creative minds to run free amidst the three-dimensional universe of plastic geometric shapes.

In all fairness, A LEGO BRICKUMENTARY does focus on a few relatively prominent artists. One of which being Alice Finch, a self-taught Lego master builder who has won multiple awards and whose massive recreation of Rivendale from The Lord of the Rings is anything but boring… in fact, its quite jaw dropping. As amazing as her work is to see, this is a short segment and the only creation of hers we see on film. Secondly, the Lego artist Nathan Sawaya is featured a bit more prominently, and for this I am grateful. Sawaya’s work is impressive and inspiring, ranging from large sculptures to small simple Lego men strategically placed in public, sort of like what Shephard Fairey and Banksy do with stencils, Sawaya does on a smaller, less political scale with Lego brinks. He also recreates masterpiece paintings, but with Legos and that is really cool.

There are a couple other names in the Lego art world that are touched upon, but I feel the balance between historical information and artistic interpretation leave the film feeling a little too much like a PBS documentary directed by Ken Burns and not enough like a contemporary, socially relevant film about a corporate powerhouse that has consequently evolved into something much more. I still very much enjoyed A LEGO BRICKUMENTARY, and I certainly recommend the film highly to be seen by children and adults alike, but continue to believe the film had the potential to be even more. Much like the subject matter itself, the film has great imaginative potential but limits itself too much to remaining loyal to the instructions.

A LEGO BRICKUMENTARY opens in theaters on July 31st, 2015.

Overall rating: 3 out of 5 stars

VACATION (2015) – The Review

Oh, can ya’ hear it? That infectious, steady beat emanating from your local multiplex’s state of the art speakers? Is that Lindsay Buckingham imploring you to join him and cruise down the “Holiday Road”? Why of course it is! It’s time again to load up and head out on another VACATION! Oh, but hold up, this isn’t just another excursion, we’re about to switch lanes and take a different route, via the “sequel/reboot highway”. First, lets; a take a glance at our rearview mirror. In the late seventies, the National Lampoon magazine (the counter-culture’s humor monthly of choice) ran a terrific prose article called “Vacation 58” written by freelancer John Hughes (yes, the future “Brat Pack” patron saint). Jump to 1978 when the mag exploded into movie houses with the smash NATIONAL LAMPOON’S ANIMAL HOUSE. The studios desperately wanted more hit flicks from NL. Unfortunately the next few comedies sputtered at the box office (CLASS REUNION, MOVIE MADNESS). Finally, in 1983, Warners produced a film based on that old Hughes piece, albeit with some changes (invading Disneyland and plugging Uncle Walt? Uh, no, along with the 50’s nostalgia). This surprise smash spawned three more adventures with Clark Griswold and the family. But now we’re cruisin’ with Clark’s son Rusty and his own family. Can this new crew continue the comic chaos, or will a “stay-cation” with the DVD boxed set prove a better bet?

Yes, Rusty Griswold (Ed Helms) is all grown up, and as we meet him (after a very funny opening title sequence inspired by a popular website), he’s just returned to Chicago. Midway Airport actually, for he’s a pilot for one of those bargain airlines. Soon he’s in the loving bosom of his family. There’s his gorgeous wife Debbie (Christina Applegate) and his two sons, gangly, awkward James (Skyler Gisondo), and his constant tormentor, pre-teen Kevin (Steele Stebbins). That night they have their neighbors over for dinner, who regale the Griswolds with their tales of their recent vacation in Paris. Rusty brags that, once again, they’re heading to their cabin on a lake up in Michigan. It’s then that he realizes that the fam, particularly Deb, is not that excited about the same spot (going through the scrapbook he sees the smiles morph into a lackluster stare). He’s gotta’ make new fun memories for them, maybe by revisiting one of his golden past trips. The next day Rusty makes the big announcement: they’re driving to California to experience the killer coaster “the Velociraptor” at the premiere amusement park “Wally World”. He piles them into an odd rental vehicle and begins this quest to bring them closer. As they say, it’s not the destination, but the journey, so they make several stops along the way. Hey, let’s drop in on Debbie’s old college, then a natural hot spring. Soon they arrive on the doorstep of Rusty’s sister Audrey (Leslie Mann) and her dim, hunky TV weatherman hubby Stone (Chris Hemsworth). Maybe they’ll make the time to drop in on the grandparents (Chevy Chase, Beverly D’Angelo). But will Rusty’s plans cause his wife and kids to drift even further away?

So, is Helms another Chevy? Well no, he’s an outstanding comic leading man in his own right. After being part of the “wolf pack” in the HANGOVER trilogy, he proves that he can carry his own flick. His take on Rusty combines the panic of the dentist from those flicks along with the awkward bravado of Andy from TV’s “The Office” with the clueless enthusiasm of his CEDAR RAPIDS role to make an endearing doofus daddy. But he’s really not carrying the whole thing on his able shoulders. Applegate reminds us that’s she’s quite a gifted comic actress. Sure she went toe to toe with Ron Burgundy in several funny verbal jousts, but here (specifically in the college sequence) she shows off a skill for slapstick we’ve not seen since she was the Bundys’ blonde bombshell on TV. D’Angelo spent much of her time being exasperated and annoyed at her on-screen hubby, while Ms.A gets down and dirty right alongside the boys. Speaking of the boys, Gisondo (so terrific as young Moe in the recent THREE STOOGES feature) really shines as the nervous, fumbling elder son. There’s a real comic energy and rapport in his scenes with Helms. And he really embodies the terrors of puberty, especially in his encounters with the gorgeous Catherine Missal, the teen dream gal who always pops up at whatever dingy roadside motel the Griswolds occupy for the night. While Gisondo’s James is clumsy sweetness, Stebbins as Kevin is the ultimate “bad seed” who makes the torture of his older bro’ his sole reason for living. He brings a lot of evil energy to his part, often gleefully spouting profanity that would make a sailor, no the whole fleet, blush (a bit the producers too often relay on to get a cheap chuckle or to end a scene). Mann has little to do as the flashy Audrey (she’s much better served in her hubby’s flicks), but Hemsworth shows off his keen comic chops (Thor could be funny, but not this hilarious) particularly as he takes great care to explain the TV controls (oh, that “red band” trailer). Chevy and Beverly do make an appearance in a stilted cameo, but we must make note of the unofficial fifth Griswold on the trip, the mysterious blue oblong enigma, the “Tartan Prancer”, that “all that was left” rental vehicle. It may not be as ugly as the “Wagon Queen Family Truckster”, but “TP” takes its place alongside that classic car in addition to the “Bluesmoble”, “Ecto 1”, the Delta’s “Deathmobile” and even Jack Benny’s “Maxwell” in the comedy car hall of fame. It comes with two gas tank openings, an electrical cord with odd prongs, and an indecipherable remote key (“What is this muffin symbol?”) that produces unexpected actions (“Why would they program that?!”). And the navigation system, that bounces from a calm Nordic voice to an extremely angry Asian, becomes a hysterical narrator to the mayhem.

The writing/directing team of John Frances Daley and Jonathan M. Goldstein, best known for the first HORRIBLE BOSSES, ably carry on the tradition established by the late, great Harold Ramis. Yes, too many gags were used in the ads and trailers, but Rusty’s pep talk about the trip remains a really clever take on current Hollywood marketing. They don’t pull back from the raunch (no wimpy PG-13 remake here), while also going for the family pathos. Sure, yeah, the “heart’ stuff is okay, but we’re just marking time till the next outrageous gag or gross-out. There are countless comedy stars from TV and films that pop up in often very funny bits, but this doesn’t offset the now-familiar comedy flick third act “lull”. So yeah, it could use a 5 or 10 minute trim. But fans of the original series are just here for the big laughs and there are plenty (happily not just pop culture references. I’m, looking at you TED 2!), and to be truthful, it’s a lot better that the EUROPEAN and VEGAS entries (Hmm. just the opposite of the STAR TREK series, whose even-numbered flicks were usually better). The new VACATION is a familiar, but still often riotous comedy re-invention that won’t sully your memories of ole’ Wally World. Just make sure that you listen to the moose out front!

3.5 Out of 5

PAPER TOWNS – The Review

It’s Summer, so it’s time for the big Hollywood studios to scour the bookshelves over in the young adult section for another hot property. Thankfully it’s not another tale set in a dystopian future with mankind’s hopes and fate riding on a youngster’s untested shoulders. Of course they’re great for the movies, since most are part of an ongoing series. For execs there are few words as sweet as ” tent pole” or “franchise”. This new film is a solo story, although you could say it’s part of a series. You see it’s from one of the hottest (perhaps even a brand) names in YA lit, John Green. His first story to hit the big screen last summer was the smash hit, THE FAULT IN OUR STARS. So what’s his newest teen tear-jerker du jour? The main vacation spot for lots of kids may just be these PAPER TOWNS.

Eighteen year-old high school senior Quentin (Nat Wolf) begins this tale, by taking us back nearly ten years, to the day his “miracle” occurred. That’s when adorable Margo moved (with her family) into the house next door. The smitten ‘Q’ became fast friends with the wild, impulsive ‘M’, as she would often climb on the roof of his house and tap on his bedroom window, inviting him to embark on another ‘adventure”. But as the years wore on, the two drifted apart. Teenaged M (Cara Delevingne) became the most popular girl in high school, running with the cool crowd. The introverted shy Q viewed her from the sidelines along with best buds and fellow “band geeks” Ben (Austin Abrams) and “Radar” (Justice Smith). Then one magical night, M was tapping on Q’s window once more. She needed his help (and his family’s car) to right a terrible wrong. M had just learned that her boyfriend was fooling around with one of her closest gal pals. Into the wee hours, the two exacted revenge on the couple along with another two that aided in their betrayal. As they parted, Q hoped that their friendship was renewed, and secretly wished that he and M could be more than friends. But she never showed up at school the next day. Or the following day. And so on. Finally, word spread that M had run away…again. But Q recalled that M always left clues. Bribing M’s little sister to gain access to her bedroom, he pieced together a possible escape scenario. Q then convinces Ben, Radar and his steady girl Angela (Jaz Sinclair), along with M’s concerned ex-pal Lacey (Halston Sage) to embark on several state road trip in order to locate (and hopefully bring back) his first love.

Wolf, no stranger to the world of Green stories after his supporting stint in FAULT, makes for an affable, earnest everyman (or boy) as he tackles most of the film’s dramatic and comedic beats. His “deer caught in headlights” stare during the late night romp is a tad overdone along with his half-hearted whispered pleas of “No” “Don’t” “You can’t…”. The actor has talent to spare (he’s a true live wire in Palo Alto), but the thin material here doesn’t seem to challenge him. Delevingne, best known as a fashion model, doesn’t quite mesh with the “queen bee of the school” persona with her distracted, halting line delivery. I can get why Q would fall for her, but somehow she’s got everybody under her “spell”. Abrams alternates between obnoxious and endearing as the full of “it” Ben. He almost believe his stories about the “hook up” from Canada (maybe she’s the sister of Riley’s far North beau in INSIDE OUT). Only the appearance of the lovely Lacey keeps him in line (he’s like a lovesick puppy). Sage is quite believable as the school blonde bombshell who wishes people could get past her stunning exterior. Smith projects a real sweetness as the only one of the trio to have a girlfriend. Unfortunately this keeps him in a state of near panic as he worries about saying or doing the wrong thing (gotta’ keep her away from his house so she doesn’t see his parents’ obsessive holiday collection) that will drive her away and return him to the ” lonely single guy bin”. Sinclair truly delights as the dream girl who is happy to be taken off her pedestal in order to really emotionally connect with her jittery suitor.

Director Jake Scrieier (the superb ROBOT & FRANK) tries valiantly but can’t quite break the constraints of the too familiar leaden story. Slow motion flashbacks and sequences are overused, and several comedic bits land with a thud (the script thinks that Radar’s house is hysterical, along with a protracted cartoon theme sing-a-long). And who thought North Carolina could really double for central Florida? Many of the adventures and clues are contrived to the point of being ludicrous. And we can never get past the selfishness of Q’s dream girl. She frivolously commits all manner of serious crimes (topped with her siged spray-painted “M”, like a new age Zorro) with no concern about the boy she’s made her slave/accomplice. And as a follow-up, she deserts everyone who cares about her well-being, sending a message that running away is a cool, hip thing to do when you need a break from ‘stuff’. Such a brat! And off course the big finale, the ticking clock deadline, is the rapidly approaching big prom dance (yet another tired high school flick trope). Perhaps the book’s many fans will enjoy this adaptation, but I couldn’t wait to escape these flimsy PAPER TOWNS.

1.5 out of 5

SOUTHPAW – The Review

Ever since two men slipped on gloves and sparred in a squared space, boxing has been a popular subject for mass media. I mean it’s a perfect venue, one man battling another, for everything from the legitimate theatre (the stage classic “Golden Boy”) and comic strips (“Joe Palooka” was a media sensation). But it seems to have been tailor-made for cinema, since it can cross over from “sports flick” to many other genres. It’s been a setting for laughs with screen comedians from Buster Keaton to Kevin James dancing about the canvas (plus THE MAIN EVENT was a boxing “rom com”). And there are boxing biographies from GENTLEMAN JIM to ALI. One modestly-budgeted 1976 smash turned into a huge franchise with ROCKY (which will soon continue with CREED). But boxing’s biggest impact may be in prestige dramas, with Wallace Beery earning an Oscar as THE CHAMP to the multi-winners (including Best Picture) RAGING BULL and MILLION DOLLAR BABY. Time to add another drama to the mix with SOUTHPAW in which the title characters doesn’t fight for fame and fortune, but to re-unite with his daughter. Yes, it’s a boxing, child custody, family drama!

A great many boxing flicks tell a rags to riches story, with a young underdog struggling to get a shot at the title. This story takes an opposite approach. As the film begins, Billy Hope (Jake Gyllenhaal) is the undisputed light heavyweight champion of the world. He’s married to the gorgeous Maureen (Rachel McAdams). They both grew up without families and met when they were in the foster care system. Oh, and they’ve started their own family with sweet ten year-old Leila (Oona Laurence). All’s right with the world as Billy takes out another contender. The night is nearly spoiled when a rising young star of the ring ‘Magic” Escobar (Miguel Gomez) shows up to taunt Billy (“why you duckin’ me, champ?”) at the post game press conference. But Billy’s smooth manager Jordan (Curtis ’50 Cent’ Jackson), along with Maureen tell Billy to ignore the upstart (“not his time yet”). But it doesn’t end there. Later, outside a charity dinner, the fighters exchange words in the hotel lobby. Tensions escalate, fists fly, and each fighter’s security team draw their weapons. Shots ring out, and Billy suffers a devastating tragedy. This sends him into a downward spiral, eventually losing his lavish home and possessions, his title (he’s banned from pro boxing), and his daughter. After a drunk driving crash, the court places Leila into the foster system (just like her parents). Billy returns to his rough old neighborhood and asks the owner of a local fight gym, ‘Tick’ Willis (Forest Whitaker) for a job. Reluctantly Willis agrees. Later Billy pleads with him to become his trainer. The only way to get his beloved Leila back to him, is to climb his way back into the ring and prove to the courts that he can provide a proper home. This is one fight that Billy cannot lose.

Once again, Gyllenhaal bring intense dedication to a very different kind of role (he’s quite the chameleon). In the ring Billy seems like a beast who just burst out of his cage, roaring so loud his mouth guard can become a projectile. He ignores the blood (seems that right eye opens pretty fast), and never gives in to the pain. When the big loss occurs, it’s as if his spirit leaves his body. We want to try to jostle him back to reality. Unfortunately, out of the ring, Gyllenhaal eases into street “pug” mode, echoing Brando’s Terry Malloy too often. His scenes with young Leila do show a kind, tender side, while his pillow talk with Maureen reveal a playful, sexy side. But when he’s taunted too long, she can’t restrain him. McAdams is the beauty that tries to sooth the beast in a role that shows her as both glamorous and as a tender, caring matriarch. The real discovery may be the stellar performance by Laurence. When Daddy messes up, her seething glare cuts Billy more than any roundhouse blow. And she really looks like her on-screen parents (a rarity). Warning: she’s a true heart-breaker. Jackson may seem like a dapper dandy as manager Jordan, but he’s a cobra in dandy duds, who will strike at any sign of weakness. Whitaker is effective and believable as the typical grizzled old pugilist. There’s a real sadness in his heavy-lidded eyes as he ponders the ex-champ’s motives. Naomie Harris (SKYFALL) is also good as a sympathetic child advocate, but (from the film’s TV spots) it appears that much of her role was cut from the final version.

Director Antoine Fuqua continues to have a great knack for down and out, gritty characters and locales, bringing a real vitality to the boxing sequences. We’re right up close with the combatants, even facing them in many POV shots, making us feel as if we’ll get sprayed with the blood and sweat. But the emotional scenes are just as hard-hitting, especially when Billy comes up against a opponent he can’t punch: the court system. And then there’s the equally brutal scenes of attempted revenge that just never seem to fill Billy’s empty heart. Those sequences from the screenplay by Kurt Sutter (best known for the acclaimed cable TV drame “Sons of Anarchy”) avoid many boxing film clichés. But , everything does culminate in the big match that still keeps us on the edge of our seats, despite a few flights of fancy (really the refs would’ve stopped it at a couple of points). Yes, we’ve seen this type of fight story before, but it’s the family dynamic that will make you root for SOUTHPAW.

3.5 Out of 5

INFINITELY POLAR BEAR – The Review

In the movies we’ve seen countless tales told through the eyes of (usually now grown-up) children all about the wild, wacky adventures they experienced with their unconventional, non-conformist parents or caregivers such as MAME, GYPSY, even the inventor pop of CHITTY CHITTY BANG BANG. But what if they were more than zany, and didn’t break into song. The father of this new autobiographical film is unlike the lovable eccentrics embraced in past films. He’s has a real diagnosed, clinical disorder. How would children really deal with that? This film’s title comes from the younger daughter’s interpretation of her beloved poppa’s condition. Instead of saying that he’s bi-polar or manic-depressive, she says that her daddy is an INFINITELY POLAR BEAR.

This story’s focus is the unconventional Stuart family. Well, unconventional for the late sixties and early seventies. Cameron “Cam” Stuart (Mark Ruffalo) comes from one of the Boston based blue blood families, their fortune made many years ago as a railroad empire. But Cam’s portion of said empire is controlled by his tight-fisted, stern grandmother, so he lives basically on his own meager resources. And he must deal with his bi-polar disorder. Cam’s married to Maggie (Zoe Saldana), a studious African-American woman who is the primary “bread-winner” to the family, and toils as a clerk in a law firm. Cam is basically “Mr. Mom” to their two daughters, whip-smart eleven year-old Amelia (Imogene Wolodarsky) and sweet eight year-old Faith (Ashley Aufderheide). But as the film begins, Cam is relieved of his duties when he suffers a complete breakdown, and threatens the family. As Maggie and his terrified daughter watch, Cam is arrested and later taken in to be hospitalized. As he slowly recovers, Maggie and the girls are forced to move to a more modest apartment. When Cam moves out of a mental health facility and into a half-way house (and responds well to their visits), Maggie proposes a plan to him. She will take classes in NYC, in order to get a better job, if he will move into the apartment (the couple were on the verge of separation before the incident) and raise the girls (with her coming back for the weekends), and if he promises to stay on his medication and quit drinking. After some hesitation Cam agrees, and soon the girls are re-united with their beloved Daddy, but heartbroken over Mommy’s weekdays absence (which, due to tests and term papers, stretches into solid weeks). But will the added responsibilities and pressures push Cam into a relapse?

Ruffalo adds another superb performance to his impressive career, balancing between his work in small independent films like this and blockbusters like the Avengers flicks where he makes Bruce Banner just as interesting as the big green “other guy”. Here he also treads another tightrope with Cam, who is often lovable, but never completely steady, the unease nearly always present in his darting eyes. We see Cam plunge deep into the darkness of his disorder early on (and a later altercation with an old family friend), then attempt to climb out through the fog of medication (he tries unsuccessfully to replace his lithium with booze, to ill effect). What stays constant, through the outbursts of frustration and the manic highs, is the love for his family (and smoking unfortunately), particularly his passion for Maggie and hope that they can be lovers once more. For fans of the gifted, versatile Ruffalo, BEAR is a must see. Saldana also gets a break from the franchises and the action thrillers, and gives us a woman not only challenged by the situation at home , but by the rules of 70’s society. Mothers were finally joining the workforce, but there seemed to be an extra thick glass ceiling for women of color. Maggie’s determined to give her girls a better life, but her heart is ripped in pieces as she must leave them with long unbearable stretches. She believes in her husband, but worries that she may have given him a burden too heavy for him to shoulder (at times she must be a mother to him). Saldana’s in top dramatic form, showcasing her terrific acting range. Wolodarsky impresses as the eldest daughter, dismissing any charges of nepotism (she’s the director’s daughter). Amelia tries to conceal her anxieties in order to keep Daddy on the right track, knowing when he’s spiraling away, and be a surrogate mom to him and her younger sister. Aufderheide is an adorable young actress with an infectious smile, who’s determined to see the positive in everything. Like most kids, she’s baffled by adult behavior, with the erratic Cam multiplying her confusion. Oh, big kudos to the film makers for casting screen veteran Keir Dullea as Cam’s father in a too brief dinner scene.

Director/screenwriter Maya Forbes, mainly known for her work in comedy, delivers a film full of passion and heartfelt emotion, perhaps since she’s basically telling us her own life story. She makes no attempts to sweetly romanticize those childhood years. The family fun moments are offset by that uncertainty and embarrassment (Dad is aggressively friendly to the neighbors and insists on delivering them to the front steps of their school in his “beater”cars). We root for this family even as we wonder if Maggie’s really doing the right, safe thing for the girls. Bobby Bukowski’s cinematography utilizes a muted palette, perhaps to give the feel of dimmed memories, to great effect, while Theodore Shapiro provides a subtle musical backdrop. Forbes gets terrific work from the entire cast and keeps the story moving for the film’s brisk ninety minutes. Despite the whimsical title INFINITELY POLAR BEAR is a compassionate look at mental illness and a compelling portrait of one family’s strengths and struggles.

4 Out of 5 Stars

INFINITELY POLAR BEAR opens everywhere and screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre

ANT-MAN – Another Take

“Face front” all you Marvel-maniacs! The movie universe is expanding by actually getting…smaller. When we last visited the studio mega-franchise, just about ten weeks ago, metallic maniac Ultron ( a really major fail from Stark Industries) was out to destroy humanity until the Avengers (lead by the big heavy-hitters like Thor and the Hulk) pulled the plug on his plans. And story lines were in place for a new cosmic menace. But this new entry is not set way, way up there like last Summer’s surprise smash GUARDIANS OF THE GALAXY. Our new hero is more down to Earth (many times he’s a fraction of an inch from Earth). Non-comics fans may be surprised that he’s actually one of the earliest Marvel characters, almost pre-dating the age of heroes by his introduction in the SF suspense story titled “The Man in the Ant Hill” from the anthology book “Tales to Astonish”, issue #27. Soon that title subject, scientist Henry Pym, donned some tights to become ANT-MAN and was the lead hero for that book. Eventually, he and his fiancée Janet Van Dyke (now his crime-fighting partner in size, the wondrous “Wasp”) were founding members of the Avengers along with Iron Man, Thor, and the Hulk. But while those other heroes gained fans becoming Marvel icons, Hank and Janet didn’t enjoy the same adulation, even after Pym adjusted his powers so he could also grow as “Giant-Man” (hey, he was the one that pulled the “Cap-cicle” out of the sea). Not longer after, they shared the “Astonish” book with the Hulk, and were eventually booted out in favor of Prince Namor, the Sub-Mariner (former villain, now aquatic hero). The Pyms continued to be mainstays of The Avengers monthly with Hank adopting the new persona of the arrogant “Yellowjacket” during a memorable story arc. Then in the mid-seventies, Marvel decided to relaunch Ant-Man as a solo star. But Pym would not be donning the helmet and spandex, instead former criminal Scott Lang would take over as the insect-sized adventurer. It’s Mr. Lang who’s at the helm of the new Marvel Studios release, ANT-MAN.

The action begins in a prologue prior to the now familiar red-tinted, flipping comics pages logo. We’re more than 25 years in the past as secretive science genius Dr. Henry “Hank” Pym (Michael Douglas) quite forcefully refuses to hand his miracle creation, the “Pym Particle” which can shrink the space between the body’s molecules allowing a person to become a tiny warrior, to the leaders of S.H.I.E.L.D. (a couple of said leaders are familiar faces). The secret will stay with him, even to the president day as he visits his former tech company Pym Labs (Henry was voted out by the board several years ago). He’s met by his daughter Hope van Dyne (Evangeline Lilly), who lead the coup fueling their strained relationship. In one of the research rooms, they join a big group to hear the presentation by Pym’s old protegé, and now head of the firm, Darren Cross (Corey Stoll). Cross touts his new variation on Pym’s formula (Hank’s kept it to himself), insisting the they’ll soon crack the code and be able to shrink living beings as part of the “Yellowjacket” project and an unstoppable military and covert fighting force. This greatly concerns Henry. Meanwhile Scott Lang (Paul Rudd) is finally released from San Quentin. Known as a “cyber Robin Hood”, Lang had learned that his former employers in the banking industry were bilking his customers of billions, so he snuck in and restored the depleted accounts. But after he was busted and did his time, nobody will give him a job or a break other than his old co-hort (his “Friar Tuck”), Luis (Michael Pena). When he shows up uninvited to the birthday party of his six year-old daughter Cassie (Abby Ryder Fortson), Scott is told by ex-wife Maggie (Judy Greer) and her new beau, a police detective (!) named Paxton (Bobby Cannavale), that there will no visitation until he gets a steady job and sends child support. Scott’s in a corner, so he finally tells Luis that he’ll be part of a “sure thing” burglary along with hacker Kurt (David Dastmalchian) and “wheelman” Dave (T.I.). But when Lang breaks into the safe in the deserted house he only finds a weird motorcycle outfit (an od metal helmet and a red and grey jumpsuit). He’s been set up by…well, needless to say the con and the brain are soon a very unlikely team in a race against time to stop Cross from selling his deadly tech to the highest bidders.

Casting a super-hero can get pretty tricky (see Seth Rogan as the GREEN HORNET…or…maybe not). Happily reluctant hero Lang is a perfect fit for the ever-charming Rudd, who’s closer in style to Robert Downey, Jr. than the Chris trio (Hemsworth, Evans, and Pratt). Rudd gets to run the gamut of emotions in the role: despair, desperation, determination, panic, unease, and ultimately focused courage, all the while never losing that expert comic timing. His Ant-Man is really every man. On the more serious (really nearly totally somber) is Douglas as Rudd’s surrogate teacher/father. He’s Obi-Wan Kenobi crossed with Doc Brown and Fred MacMurray from the flubber flicks. Pym’s haunted by a devastating past loss, but he’s got to set it aside in order to turn the reins (and the ants) over to Lang. Lilly as his daughter is not so quick to put aside that loss, and for much of the film, she keeps that chip, along with countless others, on her shoulders. Hope is almost the “rom-com” “uptight” business woman with a heart of ice that the hero must try to thaw. She’s somewhat hampered by the severe bob cut, a hairstyle that invokes the Wasp’s 60’s pageboy. As one of Lilly’s former co-stars might say, “Gotta’ see yer’ eyes, freckles.”. Menace emanates from Stoll in her first scene (another bald villain, like Jeff Bridges in the first IRON MAN? C’mon Marvel Studios!). He’s a cold, heartless cobra attired in a slick $1000 suit. Take the kiddies out to the lobby for a scene of casual cruelty with a co-worker who disagreed with him that matches any of Loki’s most vile, vicious acts. It takes some time for him to ascend to full super-villain status, but it’s worth the wait since Stoll makes a truly formidable foe. Thankfully Pena is there for some great comic relief as the always excited and often giddy Luis. His stories of past interactions are some of the film’s hilarious highlights (and dig the ultra-cool bartender in the final story). Actually he’s the leader of a pretty great comedy team (Pyms refers to them as “those three wombats) with the entertaining T.I. and Dastmalchian. Cannavale is terrific as the exasperated cop, who can’t seem to get away from his girlfriend’s ex. And Fortson, with the wide “parking lot” grin, just may be this Summer’s most adorable moppet.

There’s been considerable articles over the last few months concerning the behind the scenes turmoil occurring during this film’s production (it’s been in the works for several years). Beloved director Edgar Wright (SHAUN OF THE DEAD) left for the film before shooting began. This has caused many to muse about how a Wright-directed Ant-Man would play, and coming down on the finished film, because it’s not how they imagined Wright would have done it. This isn’t fair since the Wright Ant-Man doesn’t exist other than in the minds of many fans. The Peyton Reed ANT-MAN does and is in theatres now. And Mr. Reed, who is mainly known for comedies like THE BREAK-UP, and BRING IT ON. proves to be an excellent action, fantasy, SF film maker. He evokes that child-like sense of wonder, especially as Scott first shrinks down in a bathtub that seems several football fields long, to those tentative encounter with some terrific CGI ants (A BUG’S LIFE and ANTZ have nothin’ on “Ant-ony” and his pals). In the former sequence we recall those great late show staples like DR. CYCLOPS and THE INCREDIBLE SHRINKING MAN, even the kitchy TV classic “Land of the Giants”, but with truly state of the art EFX. With the later, Scott, riding atop a carpenter ant with buzzing wings, seems like a real world AVATAR or a high-tech Lone Ranger. In one scene, he leads the ants on a charge like Tarzan and his elephants in the finale of most of the MGM series. Those “picnic crashers” are pretty handy (could this make the return of “Ant Farms” as kids toys?). The tone may be thanks to the screenplay and story that Wright worked on, along with Joe Cornish and polished by Adam McKay and Rudd himself! And the film is more independent of the Marvel movie-verse than the other entries (save for those GUARDIANS). However we do meet another hero, and as we learned from MARVEL’S THE AVENGERS and 50 years of Marvel comics, when heroes first meet, battle ensues! The best thing about this film may be the lack of non-stop destruction that usually takes up the last act of super-hero movies. No “disaster porn” here, although a home remodeler will surely have to be called. Oh, and one building does exp…er…implode! Clocking in at just a tad over 2 hours (the post credits scene is back! Yeah!), it avoids the blockbuster ‘bloat” and wafts thru the multiplex on a breezy script full of charm and wit. As much as I love Cap, the Avengers, and the Guardians, this may be the most entertaining, all-audiences, kid-friendly Marvel movie since the first IRON MAN in 2008. ANT-MAN proves that good, fun things really do come in the teeny, tiniest of packages (and heroes).

4.5 Out of 5

CARTEL LAND – The Review

In the Midwest, we are aware of the illegal immigrant issues. We see it and live among it and have out own opinions about it, whatever they may be. But truly, we are far removed from the drug wars that occur at the US/Mexico borders. We, like any sizable city, see the drug abuse and the lives it tears apart, but that’s the end of the line. Where it starts, where the buck stops (so to speak) is where cultures and countries collide. That’s why films such as CARTEL LAND are crucial to the rest of us not living in the middle of the source of the problem.

Produced, directed, shot and edited and may other credits go to a nearly virtual one-man filmmaking team. Matthew Heineman tossed himself into the heart of darkness to capture a sample of the essence of organized crime in Mexico and it pays off, having risked life and limb in the process. CARTEL LAND is an off the cuff, seat of your pants documentary that at times plays like an action-drama. Intense moments of live gunfights between Mexican vigilantes and drug cartels are broken up by engagingly honest interviews on location and heartfelt, emotional moments of recollection and tearful testimony.

CARTEL LAND is essentially told in two chapters, inter-cut back and forth between the US and Mexican side of the border. Roughly one third of the focus lies on the Arizona Border Recon, a paramilitary group of citizens that patrol the border and track cartel movement and activities, in the hopes of squashing as much of it as then can. The Arizona Border Recon was started by Tim “Nailor” Foley, a veteran and former drug addict whose life changed after an accident which led him end his drug use and fight the cartels, who have increasingly become more bold in crossing into US territory.

The story of Foley and his Arizona Border Recon is weak, admirable on some levels, but little happens and interviews with Foley lead us to have certain doubts about his and others’ motives. His and his groups’ actions prove to have little measurable effect as depicted on screen and he is far less an intriguing character as his Mexican counterpart. Foley’s story often feels self-serving and not so much about the cause as it is about his own personal vendetta. This arc of the film draws away from the overall consistency and quality of the film and I honestly could have done without this portion altogether. I see and I understand the bilateral nature of what Heineman was attempting, but for whatever reasons, it fails to hit its mark.

The other two-thirds of CARTEL LAND focuses on Dr. Jose Mireles, also known to his supporters as “El Doctor,” who honestly deserved to have the entire film centered on his story. Dr. Mireles saw what the drug cartels were doing to his friends, family and neighbors, and saw it eating away at the fabric of his country. He founded the Autodefensas, a paramilitary group of concerned citizens who take up arms and take back what is theirs… land, property, loved ones and control over their towns and their lives. Over time, Dr. Mireles and his Autodefensas enjoy incredible success and respect for their accomplishments. However, as we see repeatedly throughout the world, putting one’s self out there in the world eventually has its price as the underlying corruption that infects society seems always to relapse after a period of remission.

CARTEL LAND flourishes as a bittersweet drama of good deeds rewarded with bad luck brought on by evil men. Dr. Mireles is an extraordinarily fascinating individual with whom we can relate. At the risk of overstating my point, Dr. Mireles for Mexico is like their Ghandi without the penchant for non-violence. He does good work, even is his means are forceful and ride the thin line of what’s lawful, but in the absence of law he brings justice. In this sense, I suppose we could call him the Batman of rural Mexico, but all kidding aside, it’s difficult to watch this film and not feel respect for the man.

This becomes all too unbearable when the tables turn and we realize what fate ultimately has in store for Dr. Mireles, a turn of events that is sickening and all too familiar here at home as well. CARTEL LAND is as much exotic to us as it is deeply personal and relevant too all our lives, even if we don’t feel it personally from day to day. Heineman puts himself out there, on many occasions capturing the chaotic, real-time danger and uncertainty on film as he’s pulled behind a truck for cover during a gunfight or tripped up during pursuits. Remember, this is a man and a camera in the midst of the action and its real life.

CARTEL LAND depicts a side of this ongoing, seemingly never-ending war from an entirely new angle and perspective. The film is not overly graphic, but images of beheading and hanging victims are displayed, as well as shots of dead Mexican citizens caught up in the violence. I commend Heineman for not shying away from this. It is reality and people need to see the truth as it truly exists. Like the westerns of the 1950s when nobody bled gave way to controversial modern depictions such as Peckinpah’s THE WILD BUNCH, violence begets blood and blood is life, so depicting the loss of life means we’re bound to see blood.

Let’s be honest. This is a hot button, political topic. CARTEL LAND is a film that digs into the truth without succumbing to the tabloid, self-serving sensationalist documentary styles of so many contemporary films of this nature. Heineman manages to drop himself right in the middle of the action and stays there till the end, but never turns the camera on himself and somehow remains virtually invisible the entire film, but still makes a powerful statement, the way documentaries should be made.

CARTEL LAND opens in theaters on Friday, July 17th, 2015.

Overall rating: 3.5 out of 5 stars

ALOFT – The Review

During the dog days of Summer, film fans may feel that they’re on an endless Hollywood highway with exits to “sequel city” and “superhero central”. But for those with a quick eye, they can break away from the express lanes and venture down an offshoot rarely used this time of year. Lets call it “art house road”, which also has its share of off ramps. We’ve got the foreign films, the feature documentaries, and the low, low-budget indies. Many of these examples of cinema made their debuts in the film festival circuit. Some are quirky whimsical comedies that often grab a fervent “cult” audience. This is new film is at the opposite end of the spectrum. It’s moody, somber, dark and attempts to comment on humanity, or the lack of such in the world. And occasionally “name” actors will be involved, telling the press that it was a chance to “hone their craft” and “escape the studio fluff”. That’s certainly true here, since one of the thespians in this new film is an honest-to-goodness Oscar winner. But can she, along with her cast members, make the story soar and keep this film ALOFT?

ALOFT begins 25 or 30 years ago in the past. We’re following Nana Kunning (Jennifer Connelly) as she trudges through the frozen fields of Canada, pleading to hitch a bus ride. She’s leading her two sons: ten year-old Ivan (Zen McGrath), who brought his pet falcon (yup, really) and his sickly seven year-old brother Ike (Peter McRobbie). They join a desperate group heading out to see a mysterious healer called “The Architect” (the whole thing is a “hush hush” secret event). But only one person that day will receive his “gift”, decided by a random lottery (you’ve got to grab the only white pebble from a canvas bag). Nana’s son Ike is not chosen, so Ivan asks if he can fly his falcon while they wait for the ride back. As the chosen young girl is led into the healer’s abode (a ramshackle structure made of loose branches and twigs), the bird swoops inside. Nana runs inside to protect the girl as the abode crumbles. The healing session is canceled and the organizers order the crowd to disperse. The crowd directs their wrath at Nana and her boys. Cut to today as a reporter, Jannia (Melanie Laurent) visits the home of the now grown Ivan (Cillian Murphy) to interview about his falconry/bird training business. Ivan is infuriated when she instead asks him about his mother, now a somewhat famous recluse. He orders her out as she leaves a disc and her contact info. Later that night he pops the disc into his laptop and sees some footage of his estranged mother wandering through a frozen forest. He reconsiders and meets with Jannia. She tells him of her impending journey to the Arctic to locate Nana and Ivan asks to join. Over the lengthy trip, Ivan’s mind drifts back to his childhood as we view the family’s tragic troubled past.

Connelly projects an indelible screen presence, one too rarely used in recent years, so it’s regrettable that she lends her talents to such an etherial, undefined role. She infuses Nana with grit and determination and elicits some compassion for this often beaten-down, struggling single mother (we rarely hear of her former partners as she trudges to her mind-numbing job at a meat processing plant). But we never really go inside her head as she makes her devastating parental decision. This is the inspiration for the constant anger and rage that Murphy must be project, with brief intervals particularly during an intense panic attack in the ice and snow triggered by a horrific childhood trauma. Laurent continues to impress as a compelling screen performer, but her role is often a plot device used to get two other characters in position for the big confrontational finale. Still her big reveal about the trip’s true purpose packs an emotional wallop. McGrath as young Ivan gives a realistic, nuanced portrait, free of cloying, child actor ticks.

Director/screenwriter Claudia Llosa never really breathes life into this dreary drama with the falcon subplot never emerging as more than heavy-handed allegory. Like the characters, we feel trapped in this bleak, overcast, frozen Hell with little chance of escape, or even a bit of warmth and sunshine. We’re on a never ending Arctic trek, too. With the two separate time lines, the story tries to build to a huge last act that never delivers any emotional heft. Instead we marvel at the superbly subtle aging of Connelly by the terrific make-up team (aided by her movement and vocal delivery). But in these last moments ALOFT finally crashes to the hard, cold ground with a definite thud.

1.5 Out of 5

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

MR. HOLMES – The Review

Lets add another entry to the long, long list of feature films concerning the fictional character that’s been in more movies than any other (perhaps this new one will put him past Dracula, or at least in a tie with the Count). Just who is it? To evoke the old cliché, it’s elementary, film fans, for it’s none other than “the world’s greatest detective”, Sherlock Holmes. Most recently director Guy Ritchie cast Robert Downey, Jr. in two big screen blockbusters set at the start of the 20th century (while Sherlock jumped to the modern-day for TV shows on CBS and the BBC). This new film is also set in the 20th century, but our sleuth is not the bare-chested, bare-knuckle brawler from the Ritchie flicks. No, this is set in the middle of said century, with our hero well, well past normal retirement age. Sir Ian McKellen, the portrayer of pop culture icons Gandalf and Magneto breathes new life into another powerhouse from the printed page as MR. HOLMES.

Near the end of his life, long after he wrote the last mystery novel, Sir Arthur Conan Doyle would be asked by interviewers, “So, what’s Sherlock Holmes doing now?”. He would respond with a stock answer about him retiring to a country farm in order to continue his bee-keeping studies. This is pretty much where we find Holmes (McKellen) at the film’s start. Arriving at a rural train station, he boards a taxi to that cozy cottage, tended to by his housekeeper/cook, the widower Mrs. Munro (Laura Linney) and her ten year-old son Roger (Milo Parker). Holmes instructs Munro to add the juice of the prickly ash plant to his food and drink. This rare plant was the reason for his recent trip. To Japan. Holmes was the guest of author/biologist Tamiki Umezaki (Hiroyuki Sanada), whose recent work touted the plant’s regenerative effects on the human brain. Seems that the “royal” honey produced at the farm is not helping the great Holmes mind. Almost didn’t mention that the year is 1947 and Mr. Holmes is a still spry 93. But his razor-sharp faculties are dulled by age. He’s ruined many a dress shirt by writing names, “crib notes” (of recent friends) on his cuffs. Hopefully this will help with his newest project: writing his own account of his final case, since Dr. Watson had too much of a flair for the dramatic. Roger happens upon the manuscript and implores him to finish. But the facts fade until finally Holmes can fully recall this solo (Watson had married and moved out) case, one whose tragedy hastened his retirement. As his twilight days dwindle away, Holmes bonds with Roger over the bees, as his mother contemplates a change.

There’s still more than five months left in 2015, but I’ll be very surprised to see five better lead actor performances than the wonderful work from the always compelling Mr. McKellen. The stage and screen veteran nearly provides a master class in acting, bringing new unseen dimension to this familiar role. Holmes goes from angry to charming, arrogant to modest almost at the duff of a top hat. Most unusual is his fear, that of losing his skills, and his attempts to hide his frailties from others and … himself. Finally here’s a Holmes that learns to care about people, that’s it’s not a failing fault of lesser folk. This may be best shown when he is horrified by a family argument that seems to cut like a jagged dagger. And there’s also regret as he recalls how his choices affected others, often tragically. Linney is a forceful head of the house who will not be intimidated by the famous man. Parker is exceptional as the fatherless boy who clings to Holmes as a mentor and perhaps a grandfather. Their interplay is quite delightful. As for the supporting players, Hattie Morahan gives a haunting performance as the object of that last case. She is at first scornful of Holmes, not being impressed by his “parlour tricks”, then realizes that they are somewhat kindred spirits. And big kudos for casting a former screen Sherlock as the star of the matinée feature that Holmes views at his local London cinema (which causes him to squirm in his seat).

The reteaming of McKellen with his GODS AND MONSTERS director Bill Condon is cause for celebration (can it possibly be seventeen years?). Condon brings a light, intimate touch, knowing when to cut for the maxim effect while inspiring such terrific work from this impressive cast. He also is adept at story “plate-spinning” as he keeps jumping between three different timelines without an ounce of confusion. Truly effective is an eerie sequence in which Holmes explores a real historical locale far more shocking than any “hound of Hell”. The sets and costumes stun as does the camera work by Tobias A. Schliessler. The pace never lags either, thanks to screenwriter Jeffrey Hatcher’s adaptation of Mitch Cullin’s novel “A Slight Trick of the Mind” (and Doyle’s classic creations, of course). The music by Carter Burwell never intrudes or overwhelms. My only complaint is his choice for the matinée music, it doesn’t really evoke the lush, full orchestra scores of the golden age of Hollywood. Ah, but I’m splitting hairs because this is a sublime affecting entertainment. If you’re smart enough to go to the right address (one of the film’s clever quips), than please treat yourself to a visit with MR. HOLMES.

5 Out of 5 Stars

THE OVERNIGHT – The Review

Right now the big box office battle is between a genetically modified killer dinosaur and a group of emotions inside the mind of a twelve year-old girl. Of course, I’m referring to Pixar’s smash INSIDE OUT. Now one of the main reasons Joy and the gang are in a frenzy is the recent cross-country move by the family of said, often sad, girl, Riley. Yes, this up-rooting can be truly traumatic for the kiddies. But what about their parents? Are they also worried about making new friends. This new film answers that question with a resounding yes. But it’s definitely not an all-ages romp, for this flick owes little to Disney, and more to Mazursky. The late director Paul to be precise, for this echoes his late-sixties counter-culture cinema classic BOB & CAROL & TED & ALICE. So, this is a different kind of play date (nudge, nudge, wink,wink) that’s explored by Alex & Emily & Kurt & Char in THE OVERNIGHT.

It actually begins not long after dawn as Alex (Adam Scott) and Emily (Taylor Schilling)’s “going through the motions” intimacy is interrupted by their energetic six year-old RJ (R.J. Hermes). It appears that they’re breaking in the bedroom of their new Los Angeles home. Alex is a stay-at-home dad and Emily’s company has transferred her from Seattle. As Alex sifts through the boxes, looking for a pair of “Summer pants” for RJ’s trip to the park (it’s a birthday party for a neighbor’s child), Emily begs off to head to work (gotta’ get a jump on things). At the park, neither fella’s making new friends. But soon after mommy surprises them (work can wait), RJ, with the help of a big bag of “gummy worms”, begins playing with Max (Max Morritt). This attracts the attention of Max’s pop Kurt (Jason Schwartzman). Learning that the family’s new to the area, Kurt invites the three over for “pizza night”. That evening the trio is stunned by Kurt’s opulent digs (and Alex is ashamed of the “2 buck chuck” they picked up on the way). Nonetheless, they are warmly welcomed by Kurt who introduces them to his Parisian-born wife Charlotte (Judith Godreche). After dinner , Alex and Emily begin to say their good nights, since it’s nearing RJ’s bedtime. But Kurt declares the evening under “French rules” and suggests that RJ sleep in Max’s room, while the now adult party continues. After the boys go down for the count, the booze flows, the bong is fired up, and the two couples get to know each other a whole, whole lot better. Just what kind of dinner party is this? Alex and Emily have to wonder if they’re the real main course!

The majority of this engaging quartet of actors build on the personas they’ve developed in their extensive TV and film work. Scott is the affable, but often bewildered everyman he’s essayed in FRIENDS WITH KIDS and the late, much missed ,TV series “Parks and Recreations”. But here there’s a hint of sadness, especially in the film’s opening minutes as he just can’t quite fulfill his husbandry duties. He really needs to feel desired once more. This takes nothing away from his great comic double takes during his stay at “Casa de Kurt”. Schilling also plays a not-too-distant cousin of her break-out character Piper from the streaming sensation “Orange is the New Black”. Her Emily is a somewhat repressed, tightly-wound “stranger in a strange land”, who needs to be shaken out of her rut. Slowly she almost learns to have fun again, and sheds the ultra-focused bread-winner role, while still expressing “shock and awe” at the detours she takes. Schwartzman adds another quirky performance to his long list of off-the-wall indie flick leads. His Kurt is eager to take in these “straights” and shepherd them through his “bizarro-world”, almost like a hipster “Pied Piper” (dig his public park duds!). As the night goes on, he projects a “Willy Wonka”-like vibe whether he’s lulling the lil’ guys into slumberland or proudly presenting his “art”. The newcomer (at least for most US audiences) here is Godreche as the exotic blonde “Bardot-ized” bombshell whose uninhibited sensuality throws her guests for a loop. But there’s a real playful quality to her, plus a sense of mystery. Those eyes never betray the mischief she’s plotting.

Writer/director Patrick Brice coaxes solid performances from all the actors, while making familiar sunny California feel like an odd “nether-world” (as it would be through the eyes of these Seattle transplants). Much of the dialogue has an off-the-cuff improv vibe without any clumsy pauses as the actors flail about in search of a punchline. Perhaps this is the influence of the co-producers, “mumblecore” icons the Duplass brothers. Although the film clocks in at a modest 78 minutes, we still feel that weary, up-all-night, party “buzz”. This may have been prodded along by an overuse of music montages (drinking, toking, swimming, etc.). But, be warned, the running time is the only modest thing about this flick. The language, graphic nudity (female and male), and sexual situations are pretty raw for a film with such “known” stars. So, if you need a blockbuster break, and aren’t spooked by some “naughty” behavior, then you might enjoy meeting the mismatched new neighbors of THE OVERNIGHT.

3.5 Out of 5

THE OVERNIGHT opens everywhere and screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre

Overall rating: 3 out of 5 stars

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Overall rating: 3.5 out of 5 stars

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