REVIEW: Triple 9

7 03 2016

John Hillcoat’s “Triple 9” makes for quintessential tough cinema – and in more ways than one. It’s hard-edged in content as a brutal crime plot breaks out in the Atlanta underworld but also somewhat tough in form; Matt Cook’s screenplay proves challenging to follow as more than broad strokes on many occasions. The sprawling tale of interwoven cops, criminals and robbers weaves a complicated web of characters.

Yet while the lack of numerous balls juggled during “Triple 9” are somewhat of a liability, they also become a strength when events take a brutally ironic turn in the second half. The film becomes almost like a classic piece of Russian literature with its cruel reversals of fate, though Cook somewhat overloads the dramatic irony by having characters mull over the impossible “coincidence” time and again. With lightly sketched characters, they become less like people and more akin to pieces to form an allegory about humanity as a whole.

Even without much in the way of characterization, the actors still shine through, namely Casey Affleck as the film’s de facto moral center, officer Chris Allen. (Others, like Aaron Paul and Kate Winslet, play up glorified caricatures.) Meanwhile, editor Dylan Tichenor, the man who cut masterpieces as varied as “Boogie Nights” and “Zero Dark Thirty,” provides excellent tension as Allen falls into the crosshairs of cops who serve the local Russian mafia bosses. The two of them almost manage to turn the film into a Coen-esque spin on a tale like “The Departed.” But even a watered-down version of that idyllic fantasy film would be worth watching – as “Triple 9” is, too. B / 2halfstars


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REVIEW: Eddie the Eagle

5 03 2016

The inspirational sports movie has certainly seen better days, as most now hew to the same audience-tested formula to equate athletic victory with a larger triumph over adversity. Either screenwriters penning or executives green-lighting these movies seem to regard this widely accepted set of conventions like the recipe for Coca-Cola, as if only one specific combination of ingredients can bottle up happiness.

Films like Dexter Fletcher’s “Eddie the Eagle,” however, prove otherwise. While everything about the actual story might indicate it perfectly fitting the standard mold, the film functions more like a loving nod to the classics rather than a dutiful servant to their legacy. Through protagonist Eddie, the ideals of effort and self-worth receive top billing over achievement and self-satisfaction.  If it has to send a message, at least Fletcher goes for one somewhat different than the norm.

These principles are not just tacked on at the end or through a big motivation speech, either. They begin at the start of “Eddie the Eagle,” when the eponymous character declares he will go to the Olympics and screenwriters Sean Macaulay and Simon Kelton never declare the goal out of reach. Despite some difficulties with his knees as a youngster in working class England, they never milk his physical challenges for easy sympathy. In fact, they get Eddie all grown up by the end of the opening credits!

From there, the film maintains Eddie’s cock-eyed optimism as he sets his sights on the 1988 Winter Olympic Games in Calgary. The question is never if but how, and he find the answer in the sneaky backdoor of ski jumping. Since the U.K. has not sent anyone for the sport in decades, all Eddie (Taron Egerton) needs to do is complete a jump in sanctioned competition to qualify. His quest for bottom of the barrel results recalls the fun of “Silver Linings Playbook” where Bradley Cooper and Jennifer Lawrence’s characters dance for literally mediocre marks from the judges.

But more than anything, it recalls “Million Dollar Baby” with its relationship of an eager mentee paired with a jaded coach, a role assumed here by Hugh Jackman. His Bronson Peary, a disgraced former American Olympian, reluctantly helps Eddie reach the lowest common denominator. With a Vangelis-style score behind it, “Eddie the Eagle” takes flight as our jumping friend triumphs over the elite British Olympians who scorned his lack of Oxbridge pedigree. The coke-bottle classes Eddie sports magnify wonder in Egerton’s doe eyes, allowing us a window into the untarnished goodness of his soul. For the hundred or so minute runtime, the film makes a convincing case for the eternal endurance of this endearing, indomitable spirit. B+ / 3stars


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REVIEW: Camino

4 03 2016

CaminoFantastic Fest, 2015

The danger of seeing successive films at a festival is that their cumulative effect can prove quite draining, making the later films in the day enervate rather than energize. “Camino” is one such film that fell victim to the festival effect for me, but let me be clear – I do not think the fault is entirely my own.

I drifted in and out of sleep for large portions of Josh C. Waller’s film, yet every time I opened my eyes, I could figure out exactly what I had missed. The script is just that simple. “Camino” marks another uninspired entry into the canon of “Final Girl” movies, where a lone female survivor outlasts everyone else in the film for some intrinsic virtue. Zoë Bell’s protagonist, war photographer Avery Taggert, lacks any kind of exceptional gumption that merits our investment of energy or empathy.

The film follows Taggert on assignment in Colombia, where she ultimately must flee and fight for her life after capturing a rather damning incident on camera. Her journey for survival, riddled with cliches and void of tension, is the kind of thing I would gladly sleep through in any kind of viewing environment. Waller makes an unabashed B-movie with “Camino,” but who really cares when that film is made from a C-grade screenplay? C / 2stars


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F.I.L.M. of the Week (March 3, 2016)

3 03 2016

The Private Lives of Pippa Lee

Robin Wright has become an iconic ice queen thanks to her role as Claire Underwood on “House of Cards;” if looks could kill, a glance from her character would bring down Elsa’s entire crystal castle on someone. Wright has been in the industry for over three decades now, enchanting audiences in films from “The Princess Bride” to “Forrest Gump,” yet her talents only now feel sufficiently realized as she nears 50.

But away from her projects that capture the public imagination, Wright quietly turns in great performances on much smaller scales. One such film is Rebecca Miller’s “The Private Lives of Pippa Lee,” a gentle yet stirring feminist drama that showcases the full range of Wright’s talents. She shines as a wife coming to the realization of the many ways in which she is held hostage by domesticity. While Miller’s might not bring the aesthetic rigor of Todd Haynes to the so-called “women’s picture,” her keen understanding of how societal roles constrain female freedoms more than earns it the honor of my “F.I.L.M. of the Week.”

In many ways, Wright’s titular Pippa Lee is a very similar character to Claire Underwood. Both are women defined by ambition that we can sense but never see, and their faces will never truly express their deepest desires. The key difference comes from what goes on underneath those belying facades. Claire looks to seize power at all cost. Pippa just wants to know freedom outside the titles of “daughter,” “wife” and “mother” in which she has dwelled her entire life.

“The Private Lives of Pippa Lee” begins with Wright’s character coming to the realization that she no longer wishes to maintain all the charades to keep the plates spinning in her life. With an aging older husband (Alan Arkin) settling into a senior living facility, she finally has some breathing room to evaluate what she wants in life – not just what she needs. Miller also traces back her history, showing how the young Pippa (Blake Lively) learned the limited avenues available to women in American society. The primary influence, of course, was her mother Suky (Maria Bello), a flighty housewife always pretending to star in an idyllic commercial.

To watch Miller’s film is to be moved by Pippa’s journey towards self-actualization, yet pure emotional outpouring is not the entire modus operandi. Miller also illuminates the narrow categorizations into which we sort women by demonstrating the judgment they face for daring to step outside of them. Empathy is part of the equation. A broadened worldview is the larger takeaway.


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REVIEW: Zoolander 2

2 03 2016

Decades-delayed sequels from “Anchorman” to “Scream” and even “Monsters University” tend to fall into some trap of relying on nostalgia for or nodding towards the original film. To some extent, if the makers do not strike while the iron is hot, they have to remind people that the iron existed in the first place. And, not to overload the metaphor, but by employing a heavy hand with said iron, they can burn a hole through the cloth of the new creation.

Given the fashion origins of the “Zoolander” series, it would only make sense that the 15-years-in-the-making second installment would hew all too close to its predecessor. In many ways – and perhaps in the ones that count – it does. But multi-hyphenate Ben Stiller does have a few new tricks up the sleeves for his old character, and even more than just a new signature look to go alongside Blue Steel and Magnum.

In another delightfully absurd caper, the pretty, dumb Derek Zoolander once again gets caught up in a tale of international intrigue. This time, it involves a conspiracy to murder good-looking celebrities and bring the fashion elite of the world to the slaughter. And, once again, it sidetracks so Derek can resolve some familial issues as well as tension with fellow model Hansel (Owen Wilson). Oh, and there’s a music montage

All in all, however, “Zoolander 2” breaks enough from the original to make the team’s efforts worthwhile. Much of the fun comes from the new characters like Kyle Mooney’s Don Atari, a pitch-perfect parody of über-trendy hipsters, and Kristen Wiig’s Alexanya Atoz, an en vogue fashion designer with enough Botox in her face to rejuvenate an entire school’s worth of soccer moms. (It’s best not to mention Penelope Cruz’s Interpol agent Valentina Valencia or Benedict Cumberbatch’s transphobic punchline All.) The whole affair is predictably stupid, though anyone who remembers the first “Zoolander” ought to expect just that. Nostalgia sometimes makes people remember things as better than they really are, and “Zoolander 2” is essentially a chip off the old block. B / 2stars


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REVIEW: Whiskey Tango Foxtrot

1 03 2016

There is no requirement that a war film – or a film set in a war – grapple existentially or philosophically with that conflict. But, at the very least, it should at least make for more than just wallpaper for another narrative. Such is the case in Glenn Ficarra and John Requa’s “Whiskey Tango Foxtrot,” based on Kim Barker’s memoir about her experiences covering the dog days of the American presence in Afghanistan.

Very few people – except maybe a few U.S. senators – go to fictionalized accounts of wartime stories and expect the level of historical discourse that might accompany a documentary. (Looking for a great one about Afghanistan? Find “Restrepo” or “The Oath” online.) A certain level of simplification is expected, if not practically mandated to connect with moviegoers who might not know the locations of Iraq and Afghanistan on a globe. It’s not that “Whiskey Tango Foxtrot” fails at providing context, like Michael Bay’s “13 Hours,” that proves so bothersome. It’s that the film doesn’t even try.

Were it not for the occasional gunshots and explosions, one could easily mistake the war zone of Afghanistan for any oppressive third-world country. Tina Fey’s protagonist Kim Barker bops around the “Ka-bubble” of Kabul less in search of a hard-hitting story and more in search of herself. She takes the wartime correspondent position in America’s Forgotten War as a means of rescuing herself from becoming forgotten as well. Facing a midlife crisis from her dead-end relationship and desk-bound career, she hops on the plane to Afghanistan with the same gusto of Elizabeth Gilbert in “Eat Pray Love.”

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REVIEW: Zootopia

29 02 2016

ZootopiaTalking animals, a town whose title mashes up “zoo” and “utopia,” the Disney brand – all good signs for an evening of escape away from the madness of the world around us that seems to be going to hell in a handbasket, right? Actually, wrong. “Zootopia,” the latest in-house effort from the Mouse House, actually feels more plugged into contemporary problems than many “issues” movies manufactured during prestige season.

Given the escalation of the American presidential election even in the past month, writers Jared Bush and Phil Johnston could not have imagined how relevant the message of their script would become when they started writing back in 2013. The titular city of “Zootopia” is a metropolis of the animal kingdom and a hotbed of diversity, like New York City or Houston. Predatory animals like tigers and foxes have learned to live in harmony with their former prey like rabbits and sheep due to the evolution and adaptation of their culture.

The promise of this pluralism attracts optimistic young bunny Judy Hopps, voiced by Ginnifer Goodwin. Never one to let her size or species discourage her unbridled enthusiasm for justice, she defies the odds to become the first rabbit cop in Zootopia. The average family film would simply let Hopps flounder for a bit and eventually find her footing by tapping into some inner strength. With all due respect to the charms of “Wreck-It Ralph” or “Frozen,” the lessons of “Zootopia” go much deeper. They examine the very tenets that form the (now seemingly shaky) foundations of our society.

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REVIEW: The Secret in Their Eyes

22 02 2016

When reviewing Billy Ray’s 2015 film “Secret in Their Eyes,” I compared it rather unflatteringly to the 2010 Argentinian film upon which it was based, Juan José Campanella’s “The Secret in Their Eyes.” More separates them than a definite pronoun and a culture swap. The remake is a pulpier, more genre-laden crime flick while the Oscar-winning original is a more character-based drama with political overtones.

Or, at least that’s what I thought … until I watched “The Secret in Their Eyes” again for a more detailed comparison. I might have overly trumpeted the virtues of Campanella’s film in anger over two wasted hours of my time watching the revamp. Truth is, I found the film somewhat above average when I first saw it in 2010. It has not gotten much better with age.

Campanella marries the noirish thriller with overwrought melodrama and never quite finds a satisfying register for his film. As retired Argentinian judiciary official Benjamín Espósito (Ricardo Darín) reflects back on the one case he never quite cracked by writing a novel, the antics just never prove twisted or politically charged enough to elicit gasps or prove thoughts. It straddles that awkward line between entertainment and art, selling itself convincingly as neither. The film is fine to watch – just not quite to the level of being recommendable, though. B / 2halfstars


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REVIEW: Our Brand Is Crisis

21 02 2016

Admittedly, the circumstances under which I saw David Gordon Green’s “Our Brand Is Crisis” might have exerted a particularly strong influence on my reaction. Had I gone to see it in theaters back in October, I could have done so with the luxury of writing off the candidacy of Donald Trump as a political sideshow. But now, watching at home in mid-February, that farce has become a force in American democracy with undeniable ramifications for our country.

“Our Brand Is Crisis” was conceptualized, shot and likely finished before the Trump phenomenon came about, so I do not wish to imply in any way that the film paved the way for such a demagogue. But given how few people saw it theatrically, most viewers will encounter the film with the presence or specter of the Donald firmly planted in the public consciousness. Cultural products may not substantially shape our society, but they can reflect its values in intentional or unexpected ways. “Our Brand Is Crisis” feels like a film in the latter camp.

Sandra Bullock stars as as political strategist “Calamity” Jane Bodine, a character who is the polar opposite of Trump in many ways. She is a for-hire, behind-the-scenes operative, obsessively focused on the minutiae of getting her candidates into first place. Mixing intellectual prowess with practical problem-solving, Jane in her zone is truly a force to be reckoned with. For that precise reason, the campaign for a struggling Bolivian presidential contender brings her off the sidelines and out of retirement.

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REVIEW: Entertainment

20 02 2016

EntertainmentRick Alverson’s “Entertainment” definitely has a lot to say, make no mistake. It’s nice to see a film titled after a concept that engages deeply with that idea.

Alverson sets up an interesting dialectic between two touring performers, a mime played by Tye Sheridan and a comedian played by Gregg Turkington. The former opens each show, deftly calibrating his moves to respond to the crowd and givng them their money’s worth. The latter, however, self-consciously stumbles his way through a stand-up routine that might have killed were it delivered in 1984. When it starts to bomb, the comedian often fires back at the crowd in seeming self-sabotage.

Perhaps this is the very tension between entertainment and art playing itself out in allegorical form. One comforts the audience while the other confronts them. One is harmless fun; the other, a provocative thorn. Alverson’s film definitely takes the form of the comedian, never easily indulging the whims of easy crowd-pleasing in its 100 minutes.

But as “Entertainment” wore on, the film started to feel thin on ideas. Yes, there is value in watching Turkington’s comedian slowly grow more and more agitated with audiences and wrestle with his own performance. Yet Alverson might have incited that same intellectual response from a short film, one that more tersely conveys the same ideas. Heck, it could have even wrestled with a new set of ideas about what people look for in a video of that length. B- / 2stars


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REVIEW: How I Live Now

19 02 2016

How I Live NowPlot-wise, not a lot separates Kevin MacDonald’s “How I Live Now” from prestige film “Atonement.” (And yes, going beyond the fact that both feature Saoirse Ronan.) The two films feature the discovery of young, passionate love that gets torn asunder by global warfare. Rather than follow the male into battle, both choose to focus primarily on the female experience on the outskirts of the conflict, where they pine for the restoration of a harmonious world.

But execution and tone set them apart. “How I Live Now” takes place in a nondescript, undeveloped dystopian present-day that erupts into World War III, and it feels more like a bad plot device than any meaningful social commentary. The film is based on a YA novel by Meg Rosoff, and MacDonald struggles to transcend those origins – try as he might to make it more adult with a more tense R-rating.

Ronan gives it her all, too, as protagonist Daisy, a constantly put-out teen who finds meaning in romance with George MacKay’s Eddie after being unceremoniously shipped across the sea to the U.K. But even acting the heck out of her character does not change the fact that Daisy is a whiny, angst-ridden adolescent whose idea of real love is fantasizing about Eddie’s shirtless torso. It may be tough for her to be a young person in a world forcing her to grow up and face the ugliness of humanity. However, it is probably tougher for “How I Live Now” being a teen movie and trying to parade around as a tale for adults. B- / 2stars


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F.I.L.M. of the Week (February 18, 2016)

18 02 2016

The Overnighters“They’re sending people that have lots of problems, and they’re bringing those problems with us,” Donald Trump notoriously said about Mexican immigrants. “They’re bringing drugs. They’re bringing crime. They’re rapists. And some, I assume, are good people.” The rhetoric surrounding migrants and outsiders has reached a fever pitch of incivility and inhumanity (not to mention incorrectness) in America. The current war is being waged on two fronts – against Mexicans and other Hispanics in the south and against Syrian refugees in the east.

Jesse Moss’ gripping documentary “The Overnighters” exposes the hateful animus behind such vitriolic missives that are alarmingly becoming normalized in American culture. His document of the North Dakota oil boom and bust shows what we don’t talk about when we talk about migrants by showing how a small community reacts to an influx of out-of-state visitors. Moss captures the conversations about the urban poor stripped of racial coding and immigrants without religious intolerance.

The result is one of the most important works I have ever selected for “F.I.L.M. of the Week.” I truly cannot urge enough people to watch “The Overnighters.” (Hint: As of publication, it is currently available to stream on Netflix.)

The film is equal parts inspiring and disheartening. In an election season where people of faith will turn a blind eye to religious intolerance if a candidate professes loyalty to the Bible over the Constitution, Lutheran pastor Jay Rienke’s efforts to live out the core Christian message of loving thy neighbor take on an outsized level of importance. A great deal of down-and-out workers drive up to his state in search of paying work, only to find that such jobs have become unattainable. Rather than let them suffer, Reinke opens the doors of his church in Williston, North Dakota, to help house and support these men.

But, of course, many in his community choose not to see his charity as providing any help. Motivated by fear, they impugn his aid as promoting indigence and vagrancy. The people of the town prove extremely hesitant to provide any sort of hand to these defeated jobseekers, hoping that maybe these migrant workers will just leave so that Williston can maintain some semblance of “home” to them. Change that is not wholly positive for them is just not a change they are interested in making.

Reinke calls the migrant workers “a gift” while also acknowledging “a burden that comes along with it.” The back half of the film just becomes devastating to watch as that burden begins to subsume him. Rather than substantively debate what the community’s role should be in helping the helpless, the townspeople deploy small points and broad labels to divert attention away from addressing the real issues. (Sound familiar?) The betrayal of Williston and the fall from grace make for a literary-like American tragedy unfolding in real life. And anyone who watches “The Overnighters” ought to work their hardest to make sure that Moss’ film does not become an allegory for our nation as a whole in 2016.


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REVIEW: Tanner Hall

17 02 2016

Tanner HallWithin the walls of any boarding school, there are many stories that can be told. Tatiana von Fürstenberg and Francesca Gregorini’s “Tanner Hall” chooses to tell far too many of them.

There’s the bookish Fernanda, played by Rooney Mara, who sees her fragilely constructed milieu disrupted by the arrival of an old friend, the spontaneous rabble-rouser Victoria (Georgia King). She’s also flirting with an older, married Gio (Tom Everett Scott).

Then, there’s Brie Larson’s Kate, a charismatic troublemaker who loves to tease their dorm room advisor, Mr. Middlewood (Chris Kattan). That eventually turns into all-out advances on him, exploiting his sexually frustrated marriage with his aggressive wife (Amy Sedaris).

Perhaps if a single story thread had gotten the full-length feature consideration, “Tanner Hall” might have more pop to it. But with all crammed into 90 minutes, each character gets short shrift. Every part of the film feels unsatisfying and underdeveloped.

The chief fascination of “Tanner Hall” now is how the film presages the rise of Mara and Larson, with each giving performances that so neatly represent the actresses they have matured to become. Mara is every bit as pensive and withdrawn as she is in a film like “Carol,” while Larson remains a ball of energy and charm. C- / 1halfstars


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REVIEW: The Lady in the Van

16 02 2016

The Lady in the VanThe titular character of Nicholas Hytner’s “The Lady in the Van,” Maggie Smith’s Miss Shepherd, is simply a laugh riot. It seems as if all Smith needs is a camera to watch her, and crotchety comedy ensues. The vagabond Miss Shepherd, who lives like a pack rat in a van wandering the streets of London, feels like a brand extension of Smith’s “Downton Abbey” character. There could be worse things to watch.

At the ripe age of 82, Smith thrives off of stealing the show no matter which project she choose. “The Lady in the Van” is no different. Yet by indulging her for every crowd-pleasing laugh, it steals a little thunder from the quiet center of the film.

While Miss Shepherd is the film’s undeniable star, she is not the protagonist. That role belongs to playwright Alan Bennett, played here by Alex Jennings. The real Bennett harbored this curmudgeonly vagrant for nearly two decades and weaved her story into a best-selling memoir. He never intended to let Miss Shepherd park her van in his driveway for so long, but one thing just led to another – and neither found anything heinously disagreeable in their arrangement.

Though much is revealed about what led Miss Shepherd from a life of concert piano playing and convent living, “The Lady in the Van” is as much about what she reveals in Bennett. Sadly, he writes himself far too modestly as a character in his own life, becoming wallpaper for Miss Shepherd to prance around in front of. Bennett’s only attention-grabbing move is a device making a split self, a “liver” and a “writer.” One takes part in events while the other records them later for posterity.

There are hints that the film could have been as stirring as “Philomena,” a similar story about a privileged British writer who receives humbling at the hands of a quirky older woman. “The Lady in the Van” mostly just sticks with fun schtick from Miss Shepherd, though. That alone makes for sufficient entertainment, but a little more emotional and intellectual depth could have propelled it beyond mere diversion. B / 2halfstars


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REVIEW: The Witch

15 02 2016

This review originally appeared on Movie Mezzanine, for whom I covered Fantastic Fest in Austin, TX.

Forms of storytelling never really die – the functions they serve simply migrate and reappear somewhere else. The folk tale is one such manner of expression that seems rather obsolete in the modern world, not yielding any overtly major works in the past two centuries or so. But director Robert Eggers identifies where they went in “The Witch,” a film that bears the subtitle “A New England Folktale.” The moral panic and blatant grandstanding on right and wrong has found a comfortable home in the horror genre.

Just drawing this parallel is a revelation in and of itself. In many ways, “The Witch” feels like the ultimate movie of its ilk, since it draws such power from returning to the roots of American anxieties. Horror films often stage dichotomies like destiny and fate or good and evil, pitting these two impersonal forces against each other in an often frustratingly nebulous fashion. Eggers finds the terror in calling a spade a spade, explicitly staging his film around the binary conflict to which all others really refer: God vs. Satan.

This open acknowledgment of the dueling forces not only puts us in the mindset of the film’s deeply religious characters – a Puritanical family living on the outskirts of their new colony – but also untethers the story from expectations of reality. Eggers devises a scenario where he can have it both ways, allowing “The Witch” to take place in a very gritty, grounded reality while venturing into the supernatural. The resulting tale plays like the mashup between “The Exorcist” and “The Crucible” that no one knew they needed to see.

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