Tag: Review

THE BOY WHO HARNESSED THE WIND – Review

Every few weeks, a “feel good” story will get scooped up by news outlets, usually in an effort to combat the notion that the “Nightly News’ is full of “downer” depressing tales of despair. Such was the case of the young man at the center of this new film, as his story almost exploded a dozen or so years ago (he was eventually interviewed by Jon Stewart on “The Daily Show”). Many who heard him, may have thought “Hey, this should be a movie!’, and some who could make that happen shared the idea. Unfortunately, many movies “inspired by true events” will “movie-fy” true tales, smoothing out the “rough edges”, cleaning it up for general audience consumption, perhaps making it indistinguishable from regular TV fare, making it a “spruced-up” Lifetime or Hallmark uplifting flick of the week. Though this film is premiering on a streaming service, it was the passion project of one of our most gifted actors who has decided to make his feature directing debut with THE BOY WHO HARNESSED THE WIND.

The story begins at the turn of the century outside the dusty city of Kasungu in Malawi in the village of Wimbe. After the sudden death of the Kamkwamba patriarch, his farmland is split between sons Jeremiah and Trywell (Chiwetel Ejiofor). Jeremiah sells his land to local tobacco growers, but Trywell is determined to work the land for and with his family: wife Agnes (Aissa Maiga), teen daughter Annie (Lily Banda), pre-teen William (Maxwell Simba) and his adorable baby brother Tiyamike. William tries to help out with family finances by scouring nearby trash dumps in order to get parts for his radio repair business. It pays off when he finally gets to go to school. He devours his lessons and makes the school’s meager library a second home. But due to the harsh seasons (floods and then long droughts), the tuition can’t be paid and William is expelled. As things become more desperate, Williams sneaks back into the library (with the aid of a teacher who is Annie’s secret boyfriend), where he pours over a battered copy of “Using Electricity”. He also becomes fascinated with that teacher’s bicycle headlamp, which uses the front wheel to power and light the bulb. As the family faces possible starvation (along with most of the village) William hatches the plans for a machine that will use the wind to irrigate the crops. But he’ll need to use parts from the family bicycle. Can he convince his proud, determined father to allow him to build this device, risking all they have left?

Ejiofor provides a solid performance as the formidable family patriarch, anchoring what could be a fairy tale into a story of courage and survival. His Trywell (there’s an apt moniker) is determined to keep his household together, adhering to traditional work values, while striving to provide a better future for his children (they all must attend school). We see his efforts to achieve his goals constantly thwarted by greed (his brother sells out) and by political upheaval (a visit from the president results in ugly violence), and Ejiofor shows us how frustration can lead to the depths of despair. Finally, pride takes hold, as he resists and rejects the helping hand from his son. Fortunately, he has great chemistry with Simba as the title character. His William is a scrappy underdog hero for the ages. We see that sense of childhood wonder and curiosity channeled and focused on a way to save all those he loves, especially his pappa. Along with his bursts of invention and creativity (scouring the landfills and studying well into the night), he struggles to connect with his father while not chipping away at what’s left of his spirit. The bond between the two is strengthened by the solid performance of Maiga who provides the emotional glue that binds the family as it strains and, in one case, snaps. While fiercely supportive of her husband, she takes him to task for heading off to political rallies leaving them to fend off the destitute. Plus she must encourage William while never disparaging her husband in front of him.

Not only does Ejiofor delivers a superb acting job as Trywell, but he’s also balancing several jobs behind the camera. This is his feature directing debut (after making a couple of shorts) and he wrote the screenplay based on the book by Bryan Mealer and William. Kudos to Ejiofor for making no attempt to romanticize nor “sugar-coat’ the tough, grueling task of working the land. The extreme weather is almost another character in the film, turning from torrential downpours to searing heat almost “on a dime”. Plus the film gives us an intimate look at the community, a small town with strong ties whether they’re meeting with Chief (from tribal days) Wembe, racing to buy government grain, or gathering around a barely functioning radio to listen to the big game. We’re given a sense of how valued education is to them, as William smiles with joy at the school uniform (slacks, crisp dress shirt, and tie) waiting for him, neatly folded on top his bed (like toys under the Christmas tree). Plus Ejiofor really pulls at the heartstrings especially in a frightening moment when desperate neighbors turn on each other to survive. Even the sweet bond of boy and dog (William has a frisky sandy-haired mutt that follows him faithfully) is not safe from the cruelties of life. The story does stumble a bit when devoting too much time to a wandering band of costumed tribal performers (wearing masks and using stilts) that reek of heavy-handed symbolism. And the scenes of starvation and sun-baked misery feel too drawn out (a ten minute trim may have helped), while the actual “harnessing” is very rapid, almost a montage of building and “results”. Still, it’s a story worth telling once more, full of triumph and a celebration of the unbreakable human spirit while advocating accessible education for all. THE BOY WHO HARNESSED THE WIND is an “inspired by true events” film that is itself is very inspiring.

3.5 out 5

THE BOY WHO HARNESSED THE WIND is in theatres and is streaming now on Netflix

RUBEN BRANDT, COLLECTOR – Review

Last Sunday night during that big award show, between the lack of a host and THAT musical duet, you may have detected a slight tremor or rumbling emanating from “Tinseltown”. That’s because one of the winners may have begun a “sea change” (though an “A change” may be more accurate). we’re talking about the Oscar for Best Animated Feature Film going to SPIDER-MAN: INTO THE SPIDER-VERSE, the first full-length US produced entry in the two decades of the category that was really aimed at an older audience, teens and young adults rather than the toddlers and pre-teens. Aside from some brief flirtations in the ’70s and early ’80s (Ralph Bakshi’s FRITZ THE CAT to his take on THE LORD OF THE RINGS), Hollywood aimed animation at that “all ages” demographic. That’s not the rule overseas, really. Foreign filmmakers have utilized the animation medium to tell all manner of mature stories. Over the years the Orient has produced hours of such “mature-themed” films (and TV shows and home videos). This new release actually comes from a place many, many miles east: Hungary. With a storyline steeped in the art history of Europe, a new talented company of craftspeople looks to the past and future with RUBEN BRANDT, COLLECTOR.

It begins with an idyllic train journey for Brandt (voice of Ivan Kamaras) through the rolling hills of Central Europe. His club car companions are more than a little odd. Then a screeching figure appears at the car’s window. The shift to horror gives way to darkness before Brandt bolts upright, having endured another in a string of “night terrors”. Several countries away, a sultry ‘cat burglar’ named only Mimi (Gabriella Hamori) is escaping the Louvre after “smashing and grabbing” Cleopatra’s hand-fan. Her escape is nearly thwarted by a handsome young freelance insurance investigator (really a fancy P.I. from D.C.) Mike Kowalsky (Zalan Makranczi). Their flirtatious game of “cat and mouse” wrecks havoc on the streets and citizens of Paris, until she tosses the fan and eludes her pursuer (and most of the Surete). Cut to a lush country estate where we meet Brandt in his professional capacity, a celebrated psychotherapist catering to a unique clientele: master criminals. His therapy group is soon joined by Mimi who has compulsion issues (seems she was “hired” to snag a massive diamond, but spotted the fan and couldn’t resist, much to her employers’ anger). When Brandt awakes from another nightmare his patients want to help. He believes that a glance at a famous work of art is a “trigger”. The solution? The group decides that they must steal, er, “collect” these pieces in order to stop these sleepless nights. Thus begins a global “museum caper”. Soon Mike K is on their trails, but so are countless criminals trying to collect a multi-million dollar bounty on the crew. Can Brandt’s burglary brigade triumph? And what is his connection to the mysterious Mike?

As with the aforementioned SPIDER-VERSE, this work truly looks like no other previous animated feature thanks to the superb work from its creator Milorad Krstic. Aside from the confident direction, he co-wrote the screenplay with Radmila Roczkov, co-produced, and was one of the editing and camera teams (talk about having your fingerprints all over “it”). The first thing to notice, as with most animated films, is the visual look. the backgrounds convey endless horizons in the rural locale, while the cities have that hard-edged angular look of man-made concrete caverns. Then there’s the character design that comes from the abstract art movements of the last century. Some supporting players sport three, often four eyes. Others have all their features “bunched up” on the right sight of the face ala’ Picasso. Brandt’s nose takes up most of his face, like a massive palm leaf ending at a point with two bubble nostrils. Mimi is a tribute to early cinema heroines with a Louise Brooks jet-black bob and two feline curled eyes resting just off her seed-shaped face. During her chase with Mike, they dash through several cafes and apartments, zipping past countless figures of intriguing shapes and costumes. Everyone moves with a flowing grace, closer to pencil than the computer (which was probably used for the streamlined vehicles: cars, boats, and that titanic train). Of the main criminal gang, the most whimsical may be the man who is proud to be a “two dimensional” who seeks RB’s help with an editing disorder (he’s not getting thick, but rather he’s too wide to slip under the doors).

As also mentioned earlier, the witty script offers us a wild overview of art history, with many famous pieces reinterpreted through Krstic’s warped lens. The nightmares spring from many different sources from Manet’s “The Olympia” to Andy Warhol’s “Elvis I and II”, with enough looks at other works to fill several galleries. Or frames of film, which figure into a subplot involving subliminal imagery. Speaking of cinema, the story also includes several clever nods to movie genres, other than Mimi’s “look”. The walls of Mike K’s apartment are adorned with weapons, all labeled with their respective film appearances. There’s the knife from FIRST BLOOD, right above a straight razor from THE UNTOUCHABLES. And as he relaxes Mike enjoys a beverage cooled by ice in the shape of Hitchcock’s famous silhouette. The heist sequences are suspenseful and funny (one guy poses as a famous statue), as are the chases with luxury cars defying gravity as others cling to curved mountain roads. An animated film for adults (mostly a touch of nudity and a dash of blood) that’s a fun romp through the story of art and cinema? Yes, RUBEN BRANDT, COLLECTOR is a dazzling dream-like delight for all adventurous film fans.

4.5 Out of 5

RUBEN BRANDT, COLLECTOR opens everywhere and screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre

TO DUST- Review

While many “feel good” movies are exhaulted with ad lines exclaiming “a celebration of life”, this new “dramedy” might best be tagged as, well, not a celebration, but rather “an exploration of life…and death”. Yes, the “D-word” figures most prominently in this piece, but from a most unexpected angle. It concerns a man from a strict religious order, a Hasidic man, who finds no real comfort from his faith after death takes his beloved, and so he turns, not to drugs or booze, but to science. He cannot put his life back into order until he knows the length of time for flesh to turn TO DUST.

We meet the focus of the story, a cantor in Upstate New York named Shumel (Geza Rohrig) on probably the worst day of his life as his wife succumbs to cancer. As her body is quickly washed and prepared for near immediate burial, he’s so distraught that he cannot find the strength to “rend” his garments, even after his mother Faigy (Janet Sarno) provides him with scissors. Luckily she helps out at home, cooking and cleaning for her son and her two teenage grandsons, Naftali (Sammy Voit) and Noam (Leo Heller) as Shumel fails to get his “bearings”. Finally, he talks to his rabbi about the thoughts that haunt him. Is his wife’s soul trapped in her body until it erodes and returns to the Earth? And how long will that take? The rabbi’s reply offers him no peace. The days turn to weeks, as the church elders plead for his return. At school, other students taunt the boys about their sullen pappa, saying that he has “eaten ” a “dybbuk” (a restless malicious spirit). This prompts the lads to begin their own research (frowned upon) into this paranormal possessor. As a last resort, Shumel turns to science, via the local community college. There he visits burned-out, frazzled biology/chemistry teacher Albert (Matthew Broderick), who tries to send him on his way. Ah, but the cantor is persistent and returns to the classroom. Albert then shows him a book offering a photographic study of a deceased piglet as it degrades and rots. Ah, but a piglet’s not the size of a person. This leads to the purchase of a full-sized adult porker, and its clandestine burial deep in the woods. When this “experiment” provides few answers, Albert learns of a “body farm” in the Midwest where corpses are left outside to aid in forensic study. Thus begins a strange “road trip” for this truly “odd couple”.

 

This unique, sometimes whimsical tale is solidly anchored by the steady, solemn performance of Rohrig (last seen in the Oscar-winning SON OF SAUL). His haunted melancholy cantor could almost be considered part of the “walking dead”, for he’s decidedly the “walking wounded”. Shumel is certainly a man with a “bee in his bonnet”, who can’t seem to connect with life as he worries about his love’s afterlife. His quiet confusion is a great counter-balance to the frequently bombastic work of Broderick, whose Albert is a single (probably divorced at least once) bitter, frustrated and aggravated riff on his character from the iconic ELECTION (guessing his Tracy Flick has her eyes on the Oval Office). Albert seems to consider Shmuel as another in a long line of annoying irritants, but slowly his empathy is finally re-ignited, and he learns to care again. More importantly, we see that Albert’s curiosity has returned after a very lengthy sabbatical. Broderick shows us the clock is turned back, a death has invigorated his inner Ferris B. Also big kudos to Voit and Heller who bring a sense of urgency and affection to their roles as Shmuel’s confused, but supportive sons.

Director Shawn Snyder lets the story unfold at a natural, leisurely pace, allowing us to feel the hesitance of the characters and the awkward “vibe” of the uncomfortable situations and conversations. The film’s problems stem from the script (which he co-wrote with Jason Begue) which has Shmuel engaging in actions that are in direct opposition to his faith’s teachings (the many interactions with swine are the least of the offenses). Especially in the last scene which seems lifted from too many late, late show “grade Z” chillers. Thankfully a few reoccurring gags connect (Albert calls Shmuel rabbi, to which he repeatedly responds, almost in a whisper, “I am not rabbi”) and the Hassidic community is given some wry human foibles (the church elders really want Shmuel back as the cantor because his replacement has a grating voice). There’s a good use of archival footage of the piglet’s decay and clips of a 30’s Polish dybbuk film, but stop-motion animation of a swollen purple bursting to reveal a blooming flower is overused and feels pretentious. There’s a couple of interesting performance at the heart of this film, and it raises some engaging thoughts on life’s end, but in the last act TO DUST quickly crumbles and leaves our movie memories as if swept away by a very slight breeze.

2.5 Out of 5

TO DUST opens everywhere and screens in the St. Louis area at Landmark’s Plaza Frontenac Cinemas.

 

HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD – Review

It’s franchise time (when is it not) at the multiplex this weekend, though it’s not another superhero sequel or an even faster, more furious action series installment. No, this is fairly unique to this new century, this is an animated feature franchise. Back when Walt Disney made the first Hollywood cartoon features, sequels weren’t considered, rather the folks at the “Mouse House’ were well into the next iconic fable. That was still the case for many years after “Uncle Walt” left his kingdom, though THE RESCUERS returned a dozen years later. Sequels were mainly the domain of the “direct to home video” market (mocked in some circles as “cheap-quels”). Pixar changed this in 1999 when they too were making a home video follow-up to their first hit, TOY STORY, and then decided that it was deserving of a theatrical release (brilliant move). One of their main rivals, Dreamworks Animation, followed suit with a SHREK series. Now the studio is instead thinking “trilogy”, as in the “Lord of the Rings” and “The Hobbit” with their two most visually ambitious (and dramatically mature) properties. 2008’s KUNG FU PANDA was the first such, concluding three years ago. Now comes the last chapter of the story that began with one of 2010’s biggest hits, HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD.

Much like action or spy thrillers, this film begins with a big action set piece (almost the “slam-bang” finale of another story). It’s a dragon rescue mission against a band of nefarious “trappers” Leading the charge is Viking chief Hiccup (voice of Jay Baruchel) astride his faithful dragon steed, the Night Fury known as Toothless. At his side are his mother Valka (Cate Blanchett) and paramour Astrid (America Ferrera), along with their pals Snotlout (Jonah Hill), Fishlegs (Christopher Mintz-Plasse), and the twins Ruffnut (Kristen Wiig) and Tuffnut (Justin Rupple). The captured dragons (save for a very special one) are released and lead back to the haven known as Berk by the victorious rescuers. But as pointed out by Hiccup’s trusted consel since childhood, Gobbler (Craig Ferguson), the town precariuosly perched on mountain peaks may not have room for this dragon influx. Plus, more trappers could strike. Hiccup then recalls the stories his late father Stoick (Gerard Butler) told of the original dragon homeland, the “hidden world” where they lived in peaceful harmony. As Hiccup tries to piece together an old map showing its location, the trappers are plotting. They recruit the ruthless and cruel Grimmel (F. Murray Abraham) who has a secret weapon: a female Night Fury (Toothless was thought to be the last of his kind). When he leads his forces on a raid against Berk, Hiccup makes a momentous decision to pack up the village and find that “hidden world”. Will Grimmel thwart his quest? And what will happen with Toothless and his possible “mate”? Could Hiccup lose both his kingdom and his best dragon pal?

With nearly a decade voicing these roles, this stellar cast still brings something “new to the table”. The most compelling character arc belongs to Baruchel, who has gone from jittery, uncertain teen to the confident, smart leader of his team and his community (pop Stoick would be beaming). He may face the most challenging decision, one that pushes him into adulthood. Namely, he must choice what’s best for others (mainly Toothless), knowing the loss he will certainly feel. Speaking of feelings, the attraction between Hiccup and Astrid, voiced with great energy by the terrific Ferrera, at last blossoms from teenage infatuation to mutual love and respect. The two make a formidable romantic pair and fighting team that’s put to the test by this story’s very hissable major “meanie”, Grimmel. Abraham oozes arrogance and contempt for nearly all those around him (even his aides), with a slight sneer as his only hint of joy. Full disclodure: during the film, I was certain the voice came from Ciaran Hinds since Grimmel’s features are a superb bald caricature of the actor (I judged a book it’s cover or character desgn). Most of the rest of the cast provide great comic releief, particularly Ferguson as the gregarious and somewhat paranoid Gobbler (he sees bug-eyed beasties everywhere). And Wiig as the grumbling sullen Ruffnut who becomes a blithe grating chatterbox when captured by Grimmel’s forces (her blathering pushes him to the breaking point).

As with the previous two films, the viewer is dazzled by the imaginative character designs and marvelous sets (Berk, the trappers’ ships) from this impressive group of artists headed by the director of all three (teamed with Chris Sanders on the first) Dean DeBlois (who wrote this screenplay based on the book series by Cressida Cowell). Hiccup’s heroes first appear clad in the discarded scales (yes, they shed) of their dragon partners, prompting the trappers to think that they’re demons (Hiccup’s cool flaming sword adds to that belief, no doubt). Much like the Vikings we’ve seen previously, the trappers are lumbering man mountains, somehow able to snatch a rider off their steeds. The teetering towers of Berk are still a child-like toy delight (just keep piling on and on and…), but it’s often too much “eye candy” as the camera swoops in, around, up, and down with increasing velocity. The sight of those winged dragons zipping miles above the Earth still elicits a soaring sense of wonder, while keeping us on the edge of our seats as the riders are often caught in a perilous plummet. The visuals fly rings around the often stodgy, slow moving script. Two prolonged mating dances are in dire need of a trim. And some attempts at edgy humor (Snotlout openly lusts for Hiccup’s Mum Valka, as Tuffnut presses Hiccup to his chest in order to nuzzle his lush “beard”-like ponytales) seem wildly out of tune in an all-ages fantasy. Still, it’s final act is very moving and admirable, when the nearly ten-year-old tale comes full circle, as the film makers offer a real conclusion to the film trilogy, three TV shows, and quartet of shorts. Of course, the dreaded “reboot” is always a possibility (going on right now with that big green ogre), but lets hope that Hiccup and Toothless can enjoy the last trek through the skies in HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD. Nighty night lil’ Furies.

3.5 Out of 5

THE INVISIBLES (2017) – Review

From the rich historical archives of WWII comes another true tale of struggle and survival, when Hitler and his cronies enacted the”Final Solution”. So what makes this film special? Well, it was produced and filmed in Germany and mixes real footage with actual interviews of the people who lived the story. The biggest twist is that it doesn’t focus on families fleeing the country and blending in or going “underground” in those nearby foreign lands. This is about the Jews who would not leave their homeland, risking their lives to “hide in plain sight” (sometimes even venturing from the closets and attics to walk the streets). Another unique aspect of this film is that it’s almost an anthology, splitting the narrative amongst a quartet of youths barely past their teens. It is set in Berlin, so some of the principals often run into the same people, though the main four never meet. Aside from the city, they do share that common goal: anonymity. Because in order to “wait out the war”, they must become THE INVISIBLES.

It begins in early 1943 as the Reich is shipping out all the “undesirables”. The first of the four we meet is Cioma Schonhaus (Max Mauff) who uses his art skills to become an expert forger. While his parents board the trains for the camps in the East, he modifies his papers in order to be labeled an essential worker at the local munitions factory. Later he is recruited to be the Jewish underground as a “passport doctor”, saving the lives of hundreds while having to be constantly on the move. The next “invisible’ is fun-loving teenager Ruth Arndt (Ruby O. Fee), who spends much of her time dancing to banned American swing music in a cramped room (she can’t risk going to a dance hall). She tries to stay with her family, but as the days drag on, they are forced to separate. Eventually, she pairs up with cousin Ellen (Victoria Schulz), playing the part of “war widows” until they get jobs as housekeepers for a high-ranking German officer. Another young woman, Hanni Levy (Alice Dwyer) has no family but is deemed temporarily essential for her work sewing parachutes. Eventually, she must go on the run, flitting from one sympathetic apartment owner to the next. To blend in, Hanni has her hair dyed blonde and changes her name. Finally, there’s the journey of Eugen Friede (Aaron Altaras), who feels safe in his parents’ home (his stepfather is not Jewish, so they aren’t harassed), until the authorities come after him. He stays with an affluent Communist family, but they must send him off to another household where he must don the garb of a “Hitlerjugend”. In his last days on the run, Eugen stays with resistance fighter Hans Winkler and aids the efforts of the resistance group Community for Peace and Development alongside camp escapee Werner Scharff (Florian Lucas). As the Allied forces bomb Germany into submission, can the quartet make it safely out of the rubble that was their land and convince the incoming Russian troops of their innocence?

One could say that these are fairly familiar stories, but the taut direction and pacing by Claus Ralfe (who also worked on the screenplay with Alejandra Lopez) gives it an intimate contemporary feel. This is also accomplished via the remarkable black and white footage from the time period used to bridge sequences and establish locales. We see German citizens from the period, not dodging bombs, but strolling down the street, window-shopping just like city dwellers in New York, Chicago, or London. Plus Ralfe knows just when to drop in some of the remarkable interviews with the real “invisibles” shot over the last couple of decades. Their portrayers (or are they re-enactors) give solid, compelling performances. Mauff embodies the confidence and cluelessness of youth, as he goes forward in his plans not fully realizes that he’s in “way over his head”. On the flip side, Dwyer brings a haunted, lonely quality to directionless Hanni, as she somehow floats past danger as in a fog. As for those who intersect with the quartet. Lukas is full of righteous bravado as the aggressive Scharff. His opposite is the slinky Laila Maria Witt as Stella Goldschlag, a Jewish collaborator who nearly exposes Ruth and Ellen, but has an unexpected change of heart and spares Cioma. Her story, full of deceit and conflict, might make for an interesting film, too. Hopefully, it would have the same superb art direction, costuming, and hairstyles as this one, skillfully dropping us right into the mid-’40s. All those involved with this powerful drama make THE INVISIBLES well worth a look.

4 Out of 5

THE INVISIBLES opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

ISN’T IT ROMANTIC (2019) – Review

“Hello, film lovers, where ever you are…” (with apologies and props to Rogers and Hammerstein). Yes, it’s that holiday, once again, so are the Hollywood studios offering any sort of “movie nightcap” to that special, intimate evening? Well, the flick opening today does have romance (well, a variation) in the title. But look at the lead actress. She’s perhaps best known for raunchy comedies, more “raw-coms” than “rom-coms”. That should clue you in that this flick offers a much sharper take (razor-sharp at times) on the now familiar “kisses and chuckles” feature. This gives several interpretations to the question posed by the Valentine’s Day release, ISN’T IT ROMANTIC. Oh, and don’t try and sneak in any heart-shaped boxes of candy into the multiplex, okay?

The story begins a couple of decades ago, as the camera gives us a full close-up of adorable nine-year-old Natalie, with an expression of pure bliss as she watches (probably not her first viewing) the 1990 classic PRETTY WOMAN. Of course, her weary, life-battered Mum (Jennifer Saunders) walks in to burst her baby’s bubble, warning her that life is very much not like these types of bubbly flicks. Cut to today, NYC, as now thirty-something Natalie (Rebel Wilson) wakes up in her dingy, tiny apartment. After saying hi to her surly unfriendly neighbor Donny (Brandon Scott Jones), she heads to her architect job at a messy, crowded downtown design firm. No one respects her except her frowsy aide Whitney (Betty Gilpin), who spends much of her days streaming, you guessed it, “rom-coms” on her computer screen, and best “work pal”, the ever-encouraging and jovial Josh (Adam Devine). Later that day, a subway altercation KO’s Natalie. When she wakes up in a very comfy hospital bed, it seems like everything’s changed (maybe better, definitely weirder). As she walks out into the now immaculate streets, she has a “meet cute” with an instantly-smitten Aussie billionaire named Blake (Liam Hemsworth). After taking her home in his limo (and giving his “digits”), Natalie is stunned by her now lush and luxurious apartment, with a fully stocked (all those shoes) walk-in closet. And (certainly “out of the closet”) waiting for her (he’s got a key, natch’) is her “BFF” Donny, now friendly and extremely flamboyant, devoted to her alone (does he have a job or an outside life). Things are certainly different at her now plush, upper-crust design office. Oh, but now Whitney is a super-competitive, rhymes-with-witchy rival. Luckily Josh is still the same supportive pal. Ah, but he’s not immune to this “turn of events”, as he starts a fast “meet cute” turned romance with the gorgeous “yoga ambassador” Isabella (Priyanka Chopra). Natalie realizes that she’s in an artificial world based on “rom-com” cliches. Is she forever “trapped” or will she find a way to return to her “real world” before losing Josh forever?

In a role quite different from her usual “party hard” twirling dervish, Wilson makes a solid cynical leading lady, calling out the genre tropes and cliches. Though she’s treated as a “beguiling” (Blake’s go-to phrase) queen, she knows that she must get back to our ole’ cruel world and makes us root for her to complete her “quest”. Plus Wilson uses her slapstick gifts to great effect in several physical gags (stopping a careening kabob cart) and a couple of musical numbers (hey there Amy). Speaking of music, she teams up once more with her PITCH PERFECT partner Devine for scenes that bristle with true chemistry (a real bit of movie “shorthand”). Luckily Devine has toned down the aggressive energy that has made many of his film roles a tad abrasive. This “mellow” almost verges on the cloying, coming off as a needy puppy in the early scenes, but he bounces back when he finds this “new NY” more appealing. Hemsworth has a winsome, goofy vibe as the fantasy “prince of the city”, yearning to take Natalie away in his carriage..er..stretch limo. Chopra is charming as the fantasy femme whose claws come out as she realizes the strong bond between the “normal” duo. Happily, the film has a couple of terrific supporting players who become the story’s true MVPs. Straight from the wrestling ring of the Netlix sitcom “Glow” comes Gilpin, showcasing her versatility in two distinct versions of Whitney. Whit 1.0 is a frizzy, mosey mess, who has been suckered in by movie fibs and spouts silly platitudes to “help” Natalie (“The right man will see your inner light”). Even more fun is Whit 2.0, a crimson-haired barracuda turning the air toxic with her withering glares and savage slams (“I’m taking you down!!”). Oh, but that “f-word” truly describes the “go-for-broke” work of Jones as the (another “f-word”) fabulous Donny, bouncing from every corner of the screen like a martini-swilling Tigger, only slowing down to deliver just the right “pep talk” to his fave “grrrlll”. He’s a real-life cartoon, in the best sense of the word.

There are a lot of truly inspired comic gems and “call-backs” in the witty, satirical script from Erin Cardillo, Dana Fox, and Katie Silberman. I was particularly amused when, in the new “world”, Natalie tries to drop the “f-bomb”, but is constantly drowned out by ambient noise (car horns, alarm clocks, etc.), thus ensuring the coveted(for this genre) PG-13 rating. And the visual bits are executed by the film’s top-notch art directors and production designers. The “RC” NYC is a place of clean streets with adorable lil’ shops for cupcakes, kids books, and bridal gowns (as opposed to the grimy 99 cent stores, bodegas, and check cashing places in the opening), subway stops adorned with potted bouquets, and pristine pedestrians wearing warm pastels and flowery prints. And, of course, no traffic jams (there’s never a car anywhere near Blake’s limo as he zips over the bridge). On the other hand, pointing out the ridiculous nature of rom-coms may be the parody equivalent of “shooting fish in a barrell”, making the film’s main premise seem “stretched” to the breaking, or boring, point. Like last year’s THE HAPPYTIME MURDERS (this new flick is vastly superior, though), we wonder if this might have worked much better as a short subject, or on TV as a comedy special or a bonus-length SNL sketch. It doesn’t help that the direction from Todd Strauss-Schulson is often listless, with lots of “wheel-spinning” (the repeated “morning after” gets tedious fast) between some peppy set pieces (the karaoke number, in particular). The whole enterprise derails in the story’s big finale as they suddenly embrace the cliches they spend the previous hour or so bashing with a Mad magazine-filled sledgehammer (how I wished a person from HR would break up a big office reveal). C’mon ISN’T IT ROMANTIC, you can’t have it both ways, or as those films would show, somebody (a guy named Baxter) has to be left at the altar. Darn, this one had a premise with some promise.

2.5 Out of 5

2019 Oscar Nominated Film Shorts Programs

Once again the general public will have to opportunity to view something that was a regular part of the movie experience for many decades, the short subject. Throughout the “Golden Age” of Hollywood, the studios produced these smaller films (generally under an hour) that were usually shown in between two films (the great double feature). There were the cartoons made by the studio animation departments (Bugs Bunny from Warners, Tom and Jerry at MGM, and so forth), and the live-action shorts, often comedy (Laurel and Hardy, the Three Stooges) mixed with some closer to documentaries like the newsreel (pre-TV filmed events) and the travelogue (a film tour of world locales). With the advent of TV, most theatres stopped showing them and the major studios closed their divisions. The shorts then became the primary domain for independent filmmakers and continued to vie for Oscar nominations. Now, with the increasing streaming platforms and cable outlets, shorts are becoming more accessible now than in many years. Still, big screen programs, aside from film festivals, is a real rarity. With the Oscar ceremony just weeks away, film fans can indulge in a “cinema smorgasbord” and indulge in a buffet from three categories.

The most popular may be the films selected as Best Animated Short, though, like their live-action narrative brethren, most of these films share a theme, call it “parents and children”. Well, there one exception, of course, that would be the witty entry from the National Film Board of Canada (producer of many wonderful award-winning animated films for nearly 70 years) called “Animal Behavior”. Rendered in a magazine (New Yorker mainly) style, it looks at a group therapy session (chairs in a circle) for animals (a pig, a leech, a praying mantis, etc.) with a dog in charge trying to deal with a new member, an annoyed gorilla. The rest fit squarely in the “theme”, the best known being “Bao” which did run in theatres last Summer paired off with INCREDIBLES 2 (Pixar nearly always runs a short before each new feature). It’s a fable (the only one in the group told in rounded 3D CGI style) in which a lonely woman is stunned when a dumpling she has prepared for Dinner, suddenly springs to life. Naturally, she raises it as her child (a son), and we see them dealing with the whole maturing cycle from infant to teen. A very different look at parenting is shown in “Weekends” in which a grade-school aged boy lives with his harried single mom during the week and is picked up on Friday by his fun-loving pop and whisked away to his high-rise apartment/funhouse. There’s almost no dialogue and the art has a “scratchy” rendering looking like ballpoint pen scribblings in a school notebook. The program’s two highlights are “Once Small Step” which begins with a young Asian-American girl watching that famous newcast, fueling her dreams of exploring space. The dream is encouraged by her single dad who works below their home as a shoe repairman (hmmm, another fairy tale nod). Again no dialogue, but with slick multicolored outlined characters that seem right out of a polished children’s’ book. The parent/child roles are flipped in the final entry “Late Afternoon” which centers on an elderly woman enjoying her visit from a caregiver (but is she more than that). While the lady sips from her tea, each image around her triggers distant memories (running along the beach, writing in the sand,etc.) until her fog is lifted in the heartwrenching final moments. The art is a lively mix of simple line drawings, bright vibrant colors, and gorgeous watercolor-like backdrops. Each film has something to entertain and recommend (I’d have a tough time choosing if I were in the Academy).

For the Best Live Action Shorts, the previous theme is a twisted variation, you could say (with a nod to the classic Who rock anthem) “The Kids are Not All Right”. Indeed they are in dire, deadly danger in all but one entry. that one is the sweetly nostalgic “Marguerite”, Like “Late Afternoon”, it’s a French-Canadian tale of an elderly woman and her visiting caregiver/nurse. Their conversations sparks her mind to recall a forbidden, unrequited love from long. long ago, reminding us that the “good ole’ days” were not so “good” for so many. Now, on to the “rough stuff”. From the same land comes “Fauve” about a lazy day in the country (climbing an old train car. running around a construction site) turns into a race against doom for two pre-teen boys. Speaking of a “race to doom”, that sums up most of the Spanish entry “Madre”. As the title infers, the main subjects are mothers (yes, the plural). The main setting is an apartment where a woman and her mother pop in to bicker and change for Lunch. Things take a turn when the home owner’s six-year-old son makes a frantic phone call to her, which puts both mother and grandmother nearly into hysterics. Like the recent films LOCKE and THE GUILTY, the story is told via one part of the phone conversation (leaving us to imagine the caller’s dire straights just as the main characters). But where’s the USA, why represented by “Skin”, which centers on a young boy of eight or nine, the only son of a young couple who are, as said in LADY BIRD, from “the other side of the tracks”. Though they dote on the lad, we soon find out that the couple (the dad particularly) are violent racists. After a horrific attack ( a true hate crime), a “Tales From the Crypt”-like revenge plot is put into motion, resulting in an “O Henry” twist at first funny then whiplashing into true tragedy. The real standout of this batch comes from Ireland. “Detainment” is the controversial docudrama whose dialogue is directly taken from Police interview tapes of the two ten-year-old suspects in the infamous 1993 “Baby James” crime in Bootle, England. Though difficult to watch (I can’t imagine a full-length feature). the film hits with the impact of cinematic sledgehammer aided in great part by the two young lead actors: Ely Sloan as the emotional, terrified Jon and Leon Hughes as the cold calculating Robert. Never exploitive of the crime, the film is a testament to the police officers quest to learn the truth while having to deal with the parents , who were required to be on hand for the questioning (it’s quite the tightrope walk as they must navigate carefully). All of these films are compelling, even as the viewer is put through the “emotional ringer”.

Finally, the Best Documentary Shorts also share a theme (well four of the five) as they profile people battling against overwhelming forces, in short, “struggle”. Most unusual may be the entry from India, with a title ripe with many meanings, “Period. End of Sentence”. It begins with an overview of a subject not really discussed in that society: menstruation. Interviews bring home the lack of knowledge (it’s a mystery to most men on camera) and the problems facing young women. The film shifts gears as we meet a man determined to bring hygiene to the villages via sanitary pad vending machines by hiring local women to produce the pads and be traveling suppliers. It’s an engaging look at a culture that’s finally changing. The majority of this program comes from the USA. “Lifeboat” follows a German barge that helps rescue fleeing refugees at sea (many don’t survive on the makeshift rafts, barrels, and tubs). There’s a message of hope despite the near unending stream of desperate, nomadic peoples. Those rescue crews are heroes, as much as the staff of the Zen Hospice Project we meet in “End Game” as they ease terminal patients into their last days. We meet four or five of these residents, but the film’s heart may be with one that decides to stay in the hospital, in hope of new treatments. The intimate scenes of Mitra with her family (her husband and mother often clash) and doctors are quite moving. A brief (seven minutes) history lesson shines a light on a now unthinkable incident from 1939. “A Night at the Garden” documents (using black and white home-movie-like footage and audio recordings) a pro-Nazi rally attended by 20,000 in New York City (the title “Garden” is Madison Square). Though touted as a night celebrating “American patriotism”, there are lots of swastikas on stage (on both sides of Old Glory) to frame the speakers spewing anti-semitic rhetoric. Hatred is a big topic in the most compelling of the program, UK’s “Black Sheep”. In stark close-up, Cornelius Walker tells the story of his Nigerian family who moved from their London high rise apartment (after the high-profile murder there of a schoolboy from their homeland) to one of the”safer” remote villages. Walker relates his shock at the casual bigotry he faced, which led to a brutal beating by a local teen gang. With great emotion, Walker then tells us of his shocking response. Rather than retaliating, he believed that in order to survive he needed to join them, even bleaching his skin, spiking his hair, and wearing bright blue contact lenses. The tale is both compelling and heartbreaking, with Walker’s monologue illustrated with dream-like recreations. All five are engrossing while sharing a similar spirit among different times, locales, and subjects.

Any or all of these programs are well worth any film fan’s time.

The 2019 Oscar Nominated Short Films Programs are screening in the St. Louis area at Landmark’s Tivoli Theatre

THE LEGO MOVIE 2: THE SECOND PART – Review

“Toyland, Toyland…”I know, Christmas was seven weeks ago, but that doesn’t mean that we can’t have some fun at the multiplex with some of our favorite playtime pals. The studios have been raiding the toy chest in search of film franchises for decades, from Raggedy Ann and Andy (originally a cartoon short from the Fleischers) to the cult favorite CLUE in the 1980s (trivia question staple: it had three endings). Now with longtime movie series based on GI JOE and TRANSFORMERS, toys have become as much a source material as comic books and TV shows (which were the initial “springboards” in the 80s for Care Bears, Strawberry Shortcake, and countless others). But could these product-spawned flicks actually be witty and (gasp) satirical, even entertaining to adults? Pixar certainly tested the waters with their first hit feature back in 1995 TOY STORY (which included kid superstars like Mr. Potato Head and Barbie alongside original characters). Jump ahead 20 years and some great comedy talents garnered big laughs from lil’ plastic building blocks. It was a surprise smash, so after two spin-offs, we’re finally getting a true sequel with THE LEGO MOVIE 2: THE SECOND PART (just be careful where you step…yeooowch).

Yes, it’s five years later and all seems to be going great for Emmet Brickowski (voice of Chris Pratt) and pals in Bricksburg. But then the destructive Duplo invaders from the Systar (?) System arrive. Despite the efforts of Lucy Wyldstyle (Elizabeth Banks) and her ex, Batman (Will Arnett) the town is transformed into the dusty dirty “heck-scape” of Apocalyseburg. Emmitt’s still his cheery ole’ self until another Systar denizen named Captain Mayhem (Stephanie Beatriz) cruises in to scoop up Lucy, Batman, Unikitty, Benny, and Metalbeard in her spaceship and whisks them away to meet her boss, Queen Watevra Wa’Nabi (Tiffany Haddish). Luckily Emmett is able to turn his dream cottage into his own star cruiser and blasts off to infinity and…no, wrong toy. When his star trek proves too deadly, Brick is rescued by a true galactic good guy, Rex Dangervest, the coolest cat in the cosmos (trained raptors fly his ship). The two team up to stop the destruction of the universe (the “our-mom-ageddon” which would banish them to the limbo region of “Stor-age”) which will be triggered by the swiftly approaching marriage of the Queen and Batman. But are the residents of Systar “un-evil”? And will Lucy finally come to terms with her “sparkly” former life? Most puzzling of all, why is the Dark Knight finally ready to “settle down”? Gosh, what’ll happen to Alfred?

The good news is that the intricate colorful designs and character work are still there, despite the changing of directors, from the team of Phil Lord and Christopher Miller (who still contributed this script with a story assist from Matthew Fogel) to Mike (TROLLS) Mitchell. Because of the returning writing duo, there are still a lot of funny throwaway bits of dialogue (especially the subtitling of the raptors) along with some very sly pop culture gags (“Marvel’s not returning our calls”). And Emmett is still a wide-eyed (big dots really) cheerfull oblivious goof. So why does the film feel…off? For one thing, the Lego world seems a lot smaller. The first adventure involved a near-endless gathering of pop icons from Star Wars to the classic Universal monsters (guessing the licensing contracts took up several file cabinets if they’re still a “thing”). But now, aside from a roll call of time-traveling devices, we’re limited to the Warner home team (though that still includes the DC heroes, the Wizard of Oz, and a Tolkien spellcaster). Perhaps this is because the real world intrudes into the main story too too much. Yes, last time we got a Will Ferrell finale, while this time his home pops up throughout and stops the story flow in its tracks. Luckily another SNL vet cameos as Will’s wife, and earns a few decent laughs, but do we need to see toys lost and gathering dust in multiple sequences? The stakes are raised by other planet’s threats, but it’s not as interesting a “hero’s journey” as in the original. Emmett and Lucy from that get plenty of screen time in this sequel, while their buddies Unikitty and Benny have little to do, as does Batman (maybe because of his solo spin-off) who is easily manipulated, though as a result of one of the film’s best musical numbers, “Gotham Guys” (much better than the “Awesome” wannabee “Catchy Song”). The rampaging Duplos who speak like toddlers is amusing, but most of the new characters barely register, aside from the Queen. Haddish brings a lot of energy to her which matches her ever-changing red, orange, and magenta form (within seconds she’s a horse, a flower, and crazy chart). Rex is a lot of fun, but his “big reveal” doesn’t really go anywhere. Though just over 100 minutes, this film feels well over 2 hours as the jumbled third act finally grinds the story to a cluttered messy halt. Though this contains many of the first flick’s winking wit, families may find that THE LEGO MOVIE 2: THE SECOND PART just feels “played out”.

3 Out of 5

 

THE KID WHO WOULD BE KING – Review

This week the multiplex presents another retelling of a familiar, romantic legend. You may be wondering whether we’re going to endure another revival of ROBIN HOOD since the stench of that abomination from two months ago has finally cleared from theatres (last week it garnered several well-earned Razzie nominations). No we’re not going to that exact time frame, for this new film starts a bit before, then jumps (leaps and bounds really) to the present day. It’s somehow a reboot and retelling of the story of Arthur, complete with knights, wizards, dragons, and that magical sword Excalibur, of course. And this time it’s a lad of thirteen or fourteen years, Alex, who is THE KID WHO WOULD BE KING.

This adventure starts with some backstory, namely a spiffy animated prologue rendered in the style of old pen and ink illustrations which whittles down the Arthurian legend to the basics, ending with the banishment of sorcerous Morgan Le Fey AKA Morgana to the underworld (dragged down literally by slithering tree roots). Freeze frame of Arthur and his aides on (how about that) the cover of a children’s storybook. Speaking of kids, we then meet the hero Alex (Louis Ashbourne Serkis) as his single Mum (Dad’s long gone) sends him off to a posh private school. But before class, he’s got to rescue his BFF Bedders (Dean Chaumoo) from two taller, older bullying students, Kaye (Rhianna Dorris) and Lance (Tom Taylor). No good deed goes unpunished, so that night, the devilish duo chase Alex through a park. Ducking into a housing construction site, he finds a sword sticking out of a concrete block. Alex easily plucks it out and heads home. He doesn’t see that this action has caused a stirring far beneath London. Morgana (Rebecca Ferguson) is awake, and as she tries to free herself of the restraining tree roots, she commands her army of brimstone-infused undead warriors. At dawn, miles away, a naked young man emerges from the mist. It is Merlin (Angus Imrie) who casts a spell on a patrol car and hitches a ride into London. At the school, he finds Alex and tells him that during the days-away solar eclipse, Morgana and her army will rise from the Earth and enslave humanity. Can Alex train and prepare along with his “knights” (Bedders and their two enemies, now united) in time to destroy Morgana in her underworld lair before the sun is blotted out, maybe for good?

Alex, the title “kid”, is played with vigor, determination, and just the right touch of vulnerability by the talented Serkis (yes he’s “mo-cap master” Andy’s son). He deftly balances the leadership qualities for the “one and future” along with some apprehension and sadness, particularly when he learns the truth about his father during this “hero’s journey”. Serkis is the story’s sturdy foundation, while its manic zany energy comes from the comedic charms of Imrie who appears to have a blast as the immortal wizard (it’s explained that he’s got the Benjamin Button aging backward bug), It’s a testament to his acting chops that he’s just as entertaining as his aged “true self” played by Sir Patrick Stewart, who pops up a few times to add some gravitas and keeps the kiddos “on point”. Luckily his heroic character is as compelling as the tale’s villain (really villainess) played with silky, slithery bad girl glee by Ferguson, who’s just as menacing in her sultry human form as she is in her flying, fire-breathing “upgrade”. But there’s also terrific comedy relief from Chaumoo as the jittery beleaguered Bedders. He and Serkis are inspired counterparts to the story’s early antagonists portrayed with dead-eyed cruelty by Dorris and Taylor. While Alex and Bedders must find their inner courage, these two have the more complex arc as they must find their long-repressed empathy and humanity. There’s also great supporting work by Denise Gough as Alex’s confused, but still sympathetic and nurturing mother.

With his first feature film since 2011’s (!) ATTACK THE BLOCK, director/writer Joe Cornish ably upgrades the ancient fables and legends by injecting the rollicking energy of the classic movie “kid clubs” (going back to “Our Gang” and especially the 1980s cable TV movie staples like THE GOONIES, THE EXPLORERS, and even THE MONSTER SQUAD). This pays off well in the slapstick and special effects finale that unites a whole school against nearly unstoppable odds. Smartly Cornish hangs on to his PG rating by not making the forces of evil too horrific, though the charred demons on horseback bursting through the grass and Earth could elicit nightmares in the youngest viewers (the warriors seem to have lava flowing through their veins), while older film fans might recall the creations of effects genius Ray Harryhausen in his Sinbad series and especially in JASON AND THE ARGONAUTS (the children of the Hydra). But the scary stuff is offset with some great bits of humor and whimsy, usually from Imrie’s rubbery spell-casting hand movements (I expect kids will be imitating them in the lobby and during the ride home). And though this clocks in at two hours, Cornish keeps the pace brisk while also offering good lessons on duty, honor, and courage. Kids of all ages should engage and identify with THE KID WHO WOULD BE KING.

3.5 Out of 5

SHOPLIFTERS – Review

Once again a lauded international filmmaker is taking an unfiltered look at family life. You might think that I’m talking about the current awards “darling” ROMA from director Alfonso Cuaron, in theatres and streaming on Netflix (really). No, this new film may be giving it some competition in the Best Foreign Film category (it has snatched up the prize in a few festivals and year-end critics group awards). Oh, this film is set in modern times, is in color, and its setting is half the planet away. And the ROMA family is, at least, upper-middle-class. These folks, well, definitely lower, much lower. This Tokyo-based clan truly struggles to survive and provide. That’s the main reason (along with misfortunate and misery) this family becomes SHOPLIFTERS.

As we meet two of them, the aforementioned crime is well in progress. “Papa” Osamu (Lilly Franky) and nine-year-old Shota (Kairi Jo) are roaming a grocery store, stuffing food into their clothing as they act as “lookouts” for each other (and distracting the clerks and managers). As they head home they notice a familiar sight. A sweet-faced five-year-old girl named Yuri (Miyu Sasaki) is alone and neglected, sitting in the cold patio outside her apartment. Fearing for her safety, Osamu impulsively reaches in and takes her with them (thinking that a hot meal will help before bringing her back). This causes quite a ruckus in the squalid tiny apartment that the duo shares with “Grandma'” Hatsue (Kirin Kiki), “Mama” Nobuyo (Sakura Ando), who works at a dry cleaners, and nineteen-year-old Aki (Mayu Matsuoka) who spends her days as a “hostess” at a “gentleman’s private club”. Actually, Hatsue is the main provider as she receives a monthly pension check via her late husband and a regular “gift” from the offspring of the woman who was her late hubby’s second wife. Plus the apartment is in her name only, so they all have a “hiding plan” in case of a visit from the landlord. Life becomes direr as Osamu is injured on the job at a construction site (no insurance, of course) and Nobuyo is let go (after she’s rifled through the pockets of all the clients’ clothes). After discovering some suspicious scars, Yuri becomes a part of the “family”, and soon the local media reports of her “kidnapping”. She’s quickly given a new name and haircut, and to Shota’s chagrin, trained in retail thievery. When a heartbreaking tragedy occurs in the household, a hard decision is made that further puts everyone at risk. Will the authorities discover their actions and break-up the loving, but illegal household?

Writer/director Hirokazu Koreeda touches upon several themes of friendship and family he explored previously in AFTER THE STORM and the unexpected charmer OUR LITTLE SISTER (which was based on a popular manga-style graphic novel). The superb camerawork conveys the near-claustrophobic living conditions in just one or two rooms that seemed to be constantly caked with grime and grit. Still, there’s a sense of mystery and wonder in these muddy back alleys and ramshackle confines. Even in the daylight hours danger hangs heavy in the air as Shota and his different “aides” try and slip past the unaware shopkeepers. Despite the title, the family (especially Shota) has a “code of honor”, perhaps to justify their actions. They believe the things they take out of bins and shelves don’t belong to anyone until purchased (twisted logic, eh). Luckily the young lad’s eyes are finally opened when a line is crossed (a bit of B and E). Koreeda guides the great ensemble expertly, with Kiki terrific as a tough and cynical matriarch. Franky is a clown full of pathos, yearning to connect with his “kids”, while Ando, as his partner, seems more world-weary than her “Grandmama”, her eyes dulled by disappointment. The most tragic may be Matsuoka, who is pinning all her hope for the future on a handsome and wealthy young “patron”, thinking that he will be the “Prince Charming” to whisk her away from the filth and famine. Yes, the story is sympathetic to these criminals, but their activities are never played as noble (other than the rescue of Yuri) or fun. And the pacing drags a bit, making us wish for a fifteen or twenty trim to tighten the story’s flow. But this is an engaging look at the class system of a different culture and how families are formed and survive. Plus it helps that these SHOPLIFTERS are also scene stealers.

3.5 Out of 5

SHOPLIFTERS opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas