Review – Page 40 – We Are Movie Geeks

SLIFF 2014 Review – THE LIBERATOR

THE LIBERATOR screens as part of the 23rd Annual Whitaker St. Louis International Film Festival on Sunday, November 23 at 6 PM at Landmark’s Tivoli Theatre. For ticket information go here

For any film fans nostalgic for the kind of sweeping, historical epic that Cecil B. DeMille and William Wyler created for the big, BIG screen, than look no further than this work from Venezuelan director Alberto Avelo. It’s the story of South American hero, Simon Bolivar (Edgar Ramirez). When we first meet the man, he’s on the run from assassins after re-uniting with his lover/ freedom-fighting partner Manuela (Juana Acosta). But what led him to this point? Flashback to his visit to the court of Spain several years before. The plantation owner from across the Atlantic bests the King and romances future wife Maria (Maria Valverde). But when the newlyweds return to his homeland, things have changed. The King’s troops rule the land with an iron fist. Soon his bride and a childhood mentor open his eyes to the injustice. After tragedy strikes, Simon utilizes his fortune and mobilizes militias from many different lands to drive out the European oppressors and restore freedom to all the native peoples.

Working from a screenplay by St. Louis native Timothy J Sexton, director Avelo has crafted a lavish true life swashbuckler set in lush jungles and beachfronts. But the talented cast makes it more than a lavish South of the Border travelogue. Ramirez soars as a steely, square-jawed man of action whether leading the charge, leaping on to the battlefield, or romancing Acosta and Valverde. There’s even a familiar face for US audiences: none other than Danny Huston of the famous film dynasty. He plays a mysterious investor from the states, eager to invest with Simon and develop the land. With his sly as a fox grin, Huston’s Torkington entertains every time he turns up through the story. There’s also glorious period costumes, props, and sets on display. THE LIBERATOR introduces Northern movie audiences to a most compelling world leader.

SLIFF 2014 Review – RUBBER SOUL

RUBBER SOUL screens as part of the 23rd Annual Whitaker St. Louis International Film Festival on Saturday, November 22 at 4 PM at Stage at KDHX. For ticket information go here

Director Jon Lefkovitz has made an interesting documentary/ dramatic hybrid with his cinematic interpretation of two interviews with John Lennon and Yoko Ono conducted ten years apart. In both sequences Lennon is played by Joseph Bearor and Ono by Denice Lee. The 1970 interview, just months after the break-up of the Beatles and prior to the release of the first plastic Ono Band record albums, with Rolling Stone magazine publisher Jann S. Wenner (Dillon Porter) takes place in an austere wood-paneled meeting room. In September of 1980, mere months before his assassination and prior to the release of the album “Double Fantasy”, the duo sit down at the kitchen table in their NYC Dakota apartment with Playboy magazine interviewer David Sheff (Andrew Perez). Lefkovitz cuts back and forth between the two settings with Lennon giving contradictory answers to many similar questions as Ono generally looks on. Helping to provide chapter settings and bookmarks between subjects are brightly colored graphics and vintage photographs along with newsreel and archival footage of his early life with and without the rest of the “fab four”. For fans of those classic tunes and the artists behind them, RUBBER SOUL is an engrossing look at one of the twentieth century’s most influential icons.

SLIFF 2014 Review – A MASTER BUILDER

A MASTER BUILDER screens as part of the 23rd Annual Whitaker St. Louis International Film Festival on Saturday, November 22 at 2:30 PM at Landmark’s Tivoli Theatre. Get ticket information here.
It’s the reunion over thirty years in the making. Andre Gregory and Wallace Shawn, the stars of Louis Malle’s 1981 cult hit MY DINNER WITH ANDRE, are together again (briefly) in Jonathan Demme’s version of Henrik’s Ibsen stage classic, that’s been adapted for the screen by Shawn. Oh, and he’s the title character, celebrated architect Havald Solness, who, as the film begins, appears to be on his deathbed. He’s hooked up to machines as sister/nurses scurry about in his opulent estate. As he drifts in and out of sleep, his aging mentor Knut (Gregory) pleads with him to give his work requests to Havald’s eager young intern Ragnar (Jeff Biehl), in order to start his own business and finally marry the old master’s secretary Kaia (Emily Cass McDonnell). But even in his weakened state, Havald is cantankerous and egotistical. Once the trio leaves, Havald’s brusk wife Aline (Julie Hagerty) brings her doctor (Larry Pine) in for a visit. But the cure to make Havald spring back to life lies not in the doctor’s bag, instead it’s provided by a visitor to his home. Twenty-something free spirit Hilde (Lisa Joyce) glides in through the front door. As a child, she was dazzled by Havald when he designed a building in her village. And now she re-unites with her first crush. Havald invites her to stay in a spare room, an unused children’s bedroom, much to Aline’s dismay. The older architect and young admirer spend the next days discussing, life, art, and family secrets.

Demme films the story in long, leisurely takes in order to capture the intimacy of the dialogue-heavy scenes. And, aside from some shots of Havald’s work, everything takes place inside the spacious mansion. Shawn is full of charm, and a bit of lechery, as the invorgated near-invalid imbued with energy by this unexpected guest. Joyce sparkles as the pixie-like, giggly fan , whose motivations are often a mystery. And Hagerty makes a welcome return to the movies as the wife whose stern distraction hides years of heartbreak. All the actors help bring this iconic work vibrantly into the modern era. Demme has given fans of the stage and screen a compelling and captivating gift.

SLIFF 2014 Review – GROWING UP AND OTHER LIES

GROWING UP AND OTHER LIES screens as part of the 23rd Annual Whitaker St. Louis International Film Festival on Saturday, November 22 at 5:30 PM at Landmark’s Tivoli Theatre.

Get ticket information here.

Once again, a group of twnty-something best buds must face an uncertain future and enter adulthood in this comedy/drama from co-writers and directors Darren Grodsky and Danny Jacobs. Struggling artist Jake (Josh Larson) is going to throw in the towel (and his painting apron) on his NYC gallery dreams and move back to Ohio to help his ailing pop run the family factory. So what does he want to do on his last day in the Big Apple? Why he wants to walk all 260 blocks of Manhattan, from the farthest North point all the way to Lady Liberty. It’ll be a great, final bonding adventure for him and his three old room mates. Skipping a day from work is teacher “Rocks” (Adam Brody), whose girlfriend is about to go into labor any minute, the nervous, twitchy Billy (Jacobs) who fears that his business partners will learn of him “playin’ hookey”, and the snarky, laid-back Gunderson (Wyatt Cenac). Along the way Jake learns that a big name artist trashed his work at a coffee shop. He gets another surprise when he learns that his ex-girlfriend Tabatha (Amber Tamblyn) has just split from her current beau. Hmmm, maybe he should stay and try and patch things up. But life’s a lot more complicated than that. During the long day, they revisit their old apartment, crash a Dinner at Tabitha’s parents’ ritzy brownstone and a kiddie Central Park birthday pirate party, visit a big gallery opening, and wind up briefly in a Queens hospital. It’s kind of like THE WARRIORS with less chasing and violence, but more infidelity, teasing, and existential angst.

Grodsky and Jacobs give us a light-hearted “Fun City” travelogue that offers up some terrific location photography reminding one of several city roaming flicks like ON THE TOWN and AFTER HOURS. There’s a great, easy rapport from the actors with “Daily Show” vet Cinac imbuing every line with a “too cool for school” vide as he drifts through sequences with a Bill Murray-like effortless spirit. Jacobs is a great nerdy fall guy, usually the brunt of Cinac’s gibes. Plus there’s several strong comic supporting players like Scott Adsit as a confused clergyman and Josh Mostel as Tabitha’s gregarious dad. If you’re got a yen for rude, crude gags and some old-fashioned friendly male teasing, then take a 90 minutes NYC tour with this funny, and a bit freaky, foursome.

THE BETTER ANGELS – The Review

Fully engrossed, I became, in this hauntingly beautiful, rare telling of the formative history behind one of our nation’s greatest men in history. So much of what we learn in school about Abraham Lincoln focuses on his accomplishments as our country’s 16th President. Rightfully so, but as children in school, would it not make sense to also learn about how these great men and women grew up? Childhood experience is crucial to the development of character, which is paramount to THE BETTER ANGELS, a film that introduces the audience to a much younger Lincoln than we’re typically accustomed.

THE BETTER ANGELS illustrates the difficulties Lincoln endured as a child, growing up poor and secluded from anyone but his small family in the remote Indiana woods of 1817. Tragedy strikes his family, hard lessons are learned, but Lincoln evolves on screen before us in raw, subtle form. His father (Jason Clarke) loves him, but its an old world tough love kind of relationship, one that surely strengthens Lincoln’s backbone, but its the women in his life, played by Diane Kruger and Brit Marling, that make a specific imprint in his moral character.

Braydon Denney portrays the young Lincoln with palpable emotional restraint, showcasing a more internal struggle within the character that supersedes the hardships of his external environment. Other men in his life, older than he but still his contemporaries, act as supporting influences, but his mother and step mother ultimately share responsibility for keeping his intellect alive and helping make his way to getting a school house education. THE BETTER ANGELS is a film of a philosophical nature, a film intent on provoking thought, a process Lincoln clearly spent his life pursuing.

Writer and director A.J. Edwards makes his feature film debut with THE BETTER ANGELS. The film is produced by Terrence Malick, whose films have clearly had a strong influence on Edwards’ style and vision. Presented in black and white, Edwards paints an entire landscape of achromatic visuals that stand on their own as photographic gems. On the surface, it may seem Edwards fills gaps in dialogue with beautifully sculpted shots, but in fact these visual interludes serve to support the reflective, contemplative nature of Lincoln’s boyhood.

THE BETTER ANGELS is saturated with visual and musical beauty. The score transports the viewer into another time and place, some place that straddles the wild and untamed with the enlightened. Simultaneously, the cinematography allows the viewer to peer into another plane of historical existence, as thought depicting real events, but through the lens of a dreamer, an ethereal plane of meditation that feels limitless but also dangerous. Anyone familiar with Malick’s work will undoubtedly notice the influence on Edwards’ pacing and visual storytelling, but that all serves to enhance this revealing exploration of circumstances that gave of arguably the greatest President of the United States.

Edwards has made a small, intimate film with great care and passion. This is a film that will appeal more to the historian and philosopher than the average moviegoer seeking entertainment. THE BETTER ANGELS is a period film, but you will not get LAST OF THE MOHICANS (as great a film as that is) or another Civil War film. Here you get raw human emotion, a struggle to survive in realistic form, and the impossibly daunting endeavor of becoming a man of greatness from the depths of poverty. THE BETTER ANGELS is top notch stage play material brought vividly to life by the magic of motion picture arts, hones to a level of fine arts and crafted with a philosopher’s mind.

Overall Rating: 4 out of 5 stars

SLIFF 2014 Review – TEACHER OF THE YEAR

TEACHER OF THE YEAR screens as part of the 23rd Annual Whitaker St. Louis International Film Festival on Saturday, November 22 at 8:30 PM at Landmark’s Tivoli Theatre. Get ticket information here.

Writer/director Jason Strouse’s feature film debut concerning the US education system may give credence to the old adage that “the inmates are running the asylum”. Truman High School’s a wild place thanks mostly to the oddballs and misfits making up most of the administration and faculty. The main exception being the title mentioned teacher of the year, Mitch Carter (Matt Letscher), who is also the rep for the faculty union. As a documentary crew follows him about, Mitch is at a crossroads. He’s being wooed by a private school lobbying group that’s dangling a big salary in front of him (and he’s got an adorable pre-schooler and a child on the way). On the other hand he believes he can make a difference in his pupils’ lives despite the jealousy of some other teachers like robotics coach Queeg (Jamie Kaler) and the inept principal Dr. Ronald Douche (pronounced “doo-shay” and played by Keegan Michael-Key of TV’s “Key and Peele”) and his toady VP Collins (Larry Joe Campbell), who delights in issuing detentions. But when one of Mitch’s teacher pals, math instructor Brian (Chris Conner), is accused of sexual harassment by a student, the pressures might push him over the breaking point.
Strouse shoots the film in a loose, fly on the wall manner similar to the “mockumentaries” of Christopher Guest and TV shows like “The Office’ and “Modern Family” which highlights lots of superb improv work from the very gifted Key (who’s a twitchy, preening mess) and the Sklar brothers, Randy and Jason, who may be the most incompetent, clueless guidance counselors ever (now they need some real guidance). Some familiar TV vets like Shari Belafonte and Tamlyn Tomita are welcome additions to the faculty lounge. But Strouse doesn’t skirt over real problems in the modern education like parental involvement and violence in the corridors. TEACHER OF THE YEAR is a strong, confident debut from this artist straight from the TV ‘trenches” and promises great future features from Mr. S. Oh, and don’t miss out on some hysterical outtakes as the end credits roll.

SLIFF 2014 Review – HUMAN CAPITAL

HUMAN CAPITAL screens at Landmark’s Plaza Frontenac Cinemas on Friday, November 21 at 9:05 PM and on Sunday, November 23 at 6;40 PM as part of the 23rd Annual Whitaker St. Louis International Film Festival.

For 11/21 ticket information go here.

For 11/23 ticket information go here.

Director Paolo Virzi uses a multiple Point of View (POV) approach on this story of a tragedy, that’s not as simple as you (or the authorities investigating) might believe. As it opens, we’re at a school auditorium as the caterers and servers are cleaning up after a pre-Christmas celebration. One veteran waiter hops upon his bicycle and peddles away on the dark, snowy streets. A blind curve and slick roads are the recipe for disaster as a speeding van clips the cyclist and speeds off. The movie shifts six months to the first chapter: the story of hapless Dino, the middle class owner of a small travel shop. He’s dropping off his daughter Serena at her boyfriend’s plush family villa. The villa’s owner, a high-profile investor, is short a man for the doubles match. Dino’s was pretty good with a racket in college and joins them. Turns out he likes rubbing shoulders with the one percenters and tries to buy into a sure return. The next chapter concerns the investor’s bored, neglected trophy wife Carla. And the final chapter comes back around to Dino’s teenage daughter Serena. Besides the hit-and-run, the tale touches upon extortion, deceit, deception, drug trafficking, scandal, and theatre restoration! There’s a lot going on in that little Italian village in those few months.

The film is most rewarding for alert viewers as several odd moments are revisited and explained. We’ve seen this flashback and flash forward structure used before from PULP FICTION to CRASH from Paul Haggis, but Virzi puts a fresh new spin on it thanks to a very clever script he co-wrote and an excellent cast including Valeria Golino (RAIN MAN) as Dino’s nurturing social worker wife and Valeria Bruno Tedeschi as a very desperate housewife. It’s a terrific commentary on the class system and a compelling ‘whodunit’. And that Italian countryside looks gorgeous in June and December. HUMAN CAPITAL is an engrossing cinematic puzzle.

SLIFF 2014 Review – THE KINGDOM OF DREAMS AND MADNESS

THE KINGDOM OF DREAMS AND MADNESS screens on Tuesday, November 18 at 7:30 PM at Webster University’s Winifred Moore Auditorium as part of the 23rd Annual Whitaker St. Louis International Film Festival. Get ticket information here

Director Mami Sanuda’s new documentary may have begun as an overview pf Japan’s leading animation company, Studio Ghibli, but it quickly evolves into a fascinating, intimate portrait of legendary director/storyteller Hayao Miyasaki. We first meet him on a typical work day, briskly walking the area adjacent to all the much-younger working artists. No private, plush office for him, though his simple desk and chair are next to a window. Quite a nice view, but the studio structure itself is quite pleasant with bright white walls, massive windows that let the sunlight stream in, and opulent landscaping (even a rooftop garden). But Miyasaki doesn’t spend much time up there. Wearing a bright white butcher’s apron he more likely resembles a cafeteria supervisor (later we get to see a cosplayer in the exact garb at a fan festival!). But with his silver hair and beard surrounding black eyebrows and dark horn-rimed glasses, he could be an ancient shaman or wizard. In fact he is the master sorcerer of cell-vinyl paint. He joins all his workers for the 2 PM excercise lead by an unseen instructor over the studio audio system. Then it’s back to the storyboard for his latest feature, each square of art another brick in a magnificent castle. Said structure is last year’s epic THE WIND RISES. Much time is also spent finding just the right actor to voice that film’s lead, Jiro. Also getting much of the film’s focus is the determined producer Toshio Suzuki as he oversees merchandising (just as in the US, much of the funding comes from toys and clothing) and marketing (posters and trailers) for upcoming releases. We hear much about another Ghibli founder, director Isao Takahata (he was Miyasaki’s mentor) whose next film THE TALE OF PRINCESS KAGUYA may be his screen swan song. But as the work progresses (inspiring some political controversy in the local press over WIND’s subject matter), it becomes clear that indeed this new film will be Miyasaki’s goodbye.

Sanada’s film is a compelling study of a complicated artistic genius. The cameras follow him from the studio to his modest home (often walking, but sometimes taking public transportation, almost like sharing a subway seat with Walt Disney!) where Miyasaki offers heartfelt observations about his life and work (he really believes many of his films will have no legacy). Happily ,we get to see him invigorated and surprised by the results of his hard labor (at the studio everyday but Sunday, including holidays!). Intercut are many clips of glorious sequences from previous films and archival photos and sketches from decades past. The ending may seem a touch sentimental, but it never veers into the maudlin. As long as his health endures, it’s certainly possible that the master will slip on that apron, grab a pencil, and unleash the magic once more.

SLIFF 2014 Review – THE BIT PLAYER

THE BIT PLAYER screens at Landmark’s Plaza Frontenac Cinemas on Tuesday, November 18 at 4:30 PM and Thursday, November 20 at 2:15 PM as part of the 23rd Annual Whitaker St. Louis International Film Festival. For 11/18 tickets go here. For 11/20 tickets go here.

Just as in the 1982 classic pop tune from Huey Lewis and the News, poor Loida (Vilma Santos) is “takin’ what they’re givin’, cause I’m workin’ for a livin'”. While she is the lead character in her own story, to the rest of the world (or at least Filipino mass media) she’s THE BIT PLAYER, a lowly extra for movies and TV shows. As her tale begins, the single mother has just left the set and is fixing s a meal for her teenage daughter. Another payment’s due for her school, so Loida’s got to get another gig. A text comes through and, after borrowing a party dress from another actress pal (she’s gotta’ provide her own wardrobe), she hits the sack for only a few hours. Then, before dawn, it’s a quick trip downtown to load up in the talent van that whisks them off to a location. It’s a loooong, full day on a popular evening soap opera. The cranky assistant director herds them off to change clothes (no dressing rooms for them so they take turns holding up beach towels to ward off the crew members’ leers). While the extras become almost sisters, nobody else seems to really like each other. The imperious “great and powerful Oz”-like director, sequestered away in the control room/tent can’t stand his aide or the whiny producer who complains about the budget as she is constantly pampered by the masseuse. And the lead actors are treated as glowing royalty, but the bit players…they’re scenery, moving props. But it’s hurry, hurry while the extras swelter in the sun as backdrops for the show’s young lovers. Will they have enough food for the Lunch break? Nope, sorry. But, after an acting play-off with another extra in front of the AD, Loida snags a maid’s role (more pay!), and as the day drags on and on, from early morning to evening well past midnight, Loida is given a coveted speaking role (alongside one of her idols). Will this be her break into the big time (and big bucks) and jump from bit to featured player?

Director Jeffery Jeturian’s slice of working life gives us a look at the grit and grime behind the glitz of glamour TV. This may be best illustrated when a “Joan Collins”-like “queen bee” injures Loida (gonna’ leave a mark!) during a take because “it just came to me and seemed right for the scene”. The whole film is full of good-natured humor until the final act hits the viewer like a hard , sobering punch to the gut. But does it get our gal down, or does she, as another great song says, “pick yourself up, dust yourself off, start all over again”? THE BIT PLAYER is filled to the brim with laughs and heart, so much so that you might pay closer attention to those plucky unknowns just out of focus behind the leads.

SLIFF 2014 Review – WARREN

WARREN screens at Landmark’s Plaza Frontenac Cinemas on Tuesday, November 18 at 6:15 PM as part of the 23rd Annual Whitaker St. Louis International Film Festival. Get ticket information here

From the concrete canyons of the Windy City comes this intimate tale of a post college twenty-something at a crossroads while dealing with an unraveling family and the return of a lost love. When we first meet Warren (writer/director Alex Beh), he’s rummaging through his mementos in the basement of his soon-to-be-demolished suburban childhood home. His grizzled Pop (John Heard) is living on booze and quickly fading memories while Mom (Jean Smart) has moved on and out, now living, along with Warren’s out-of-control kid brother, with a new beau. But Warren’s got his own life in the “city of broad shoulders”. He’s thrown in the towel on his acting dreams, but still occasionally joins two buds on-stage for some late night comedy improv at a local pub. Most days he’s a barista, serving over-priced drinks and pastries to yuppies at an independent coffee shop. But then one night she walks in. Emma (Sarah Habel) was the high school sweetheart who stuck with him until only a couple of years ago when both careers became stagnant. She was going to pursue her art muse in LA, but Emma’s back in Chi after giving up the oils and easels for selling pricey real estate. Oh, and she’s getting ready to marry her business partner, the driven overbearing Ted. As Emma’s trips to the coffee shop become more frequent, Warren must decide whether to give up the safe life and pursue his dreams, and lady-love, or perhaps end up filled with frustration and regret like dear ole’ Dad.

Beh has helmed an engaging slice of life comedy/drama that puts a fresh spin on the old “reuniting and it feels so good” movie romances. He shows us that Emma is at a crossroads too and not just flirting with the nostalgia of a former life. The cast is filled with energetic young actors in brief, quirky roles alongside with seasoned veterans like Second City alum Bruce Jarchow as a sympathetic landlord/acting mentor and the always entertaining Smart and Heard, who tugs at the heartstrings. Like many “rom-coms” we get a montage of the frolicking couple cavorting through the streets and the location work on the bustling Chicago streets is dazzling. WARREN is a most entertaining debut feature that will hopefully be the start of a great film making career.

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