Tribeca 2023: Rather (***1/2)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 17, 2023)

https://i0.wp.com/digbysblog.net/wp-content/uploads/2023/06/image-67.png?resize=1024%2C576&ssl=1

Few journalists have had such a long and storied career as Dan Rather; long enough for several generations to claim their own reference point. At the risk of eliciting an eye-rolling “OK Boomer” from some quarters, mine is “I think we’re dealing with a bunch of thugs here, Dan!” (others of “a certain age” will recall that as Walter Cronkite’s reaction to watching his colleague getting roughed up by security on live TV while reporting from the floor of the 1968 Democratic National Convention). For Gen Xers, he’s the inspiration for R.E.M.’s “What’s the Frequency Kenneth?”, which is what a pair of assailants repeatedly asked Rather during a 1986 attack in New York. To Millennials, he’s a wry and wise nonagenarian with over 2 million Twitter followers.

As evidenced in Frank Marshall’s documentary, the secret to Rather’s longevity may be his ability to take a punch (literally or figuratively) and get right up with integrity intact. All the career highlights are checked, from Rather’s early days as a reporter in Dallas (where he came to national prominence covering the JFK assassination) to overseas reporting for CBS from the mid-to-late 60s (most notably in Vietnam), to taking over the coveted CBS Evening News anchor chair vacated by Cronkite in 1981, and onward. An inspiring warts-and-all portrait of a dogged truth-teller who is truly a national treasure.

Tribeca 2023: He Went That Way (**)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 17, 2023)

https://i0.wp.com/digbysblog.net/wp-content/uploads/2023/06/image-63.png?w=1000&ssl=1

Or, as I have dubbed it, He Went Every Which Way but Loose. Jeffrey Darling’s heartland noir (set in 1964) gets its kicks on Route 66. An animal handler (Zachary Quinto) is on the road to Chicago with his BFF…a celebrity chimpanzee named “Spanky”. At a truck stop café, he offers a ride to a wary hitchhiker (Jacob Eldori), little suspecting that he’s picked up a vicious serial killer. While all the elements are in place for a tension-filled “killer on the road” thriller, the film never quite gels as such. The two leads are game (like Michael Madsen before him, Eldori takes full advantage of his angular James Dean countenance with a suitably twitchy and squint-eyed performance) and the scenic vistas are well-photographed but vacillating tonal shifts in the narrative ultimately drag the film down.

Tribeca 2023: Let the Canary Sing (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 17, 2023)

https://i0.wp.com/digbysblog.net/wp-content/uploads/2023/06/image-65.png?w=1024&ssl=1

The biggest surprise in Alison Elwood’s engaging portrait of Cyndi Lauper is the thoughtful, articulate, and soft-spoken woman who reflects on her life and career; a far cry from the goofball New Wave Judy Holliday shtick that defined her public persona. By the time her slyly feminist anthem “Girls Just Wanna Have Fun” put her on the map in 1983, she’d already been toiling in the music biz for over a decade (mostly fronting cover bands; it was interesting to learn that she was once a backup singer for Patti LaBelle). She freely admits that the graph of her career is a classic roller coaster, but it turns out she’s more of a polymath than one might suspect and has never compromised her vision. I confess losing track of her post-80s output, but I came away with newfound respect for her ongoing dedication as an artist and an activist.

Tribeca 2023: Cinnamon (**)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 17, 2023)

https://i0.wp.com/digbysblog.net/wp-content/uploads/2023/06/image-68.png?resize=1024%2C576&ssl=1

Coffy? Meet Cinnamon. Written, directed and executive produced by Bryian Keith Montgomery Jr., this crime thriller marks the first offering under the banner of Village Roadshow Pictures’ Black Noir Cinema, which according to Variety, “…aims to adapt and redefine the Blaxploitation genre and translate its spirit of empowerment to a new generation of Black audiences.” With all due respect, isn’t that an avenue that filmmakers like Quentin Tarantino (e.g. Jackie Brown, Django Unchained) and the Hughes Brothers (e.g. Dead Presidents) have already been traversing for a couple of decades? I’m just asking questions.

Hailey Kilgore plays a young woman who works at a gas station and aspires to make it big in the music biz. David Iacono plays the petty thief who sweeps her off her feet and vows to make her a star by any means necessary (he’s handsome, but roguish). The pair brainstorm a scheme to score some cash. Complications ensue. Kilgore and Iancono are appealing, and having players like Damon Wayans and genre stalwart Pam Grier (still a formidable presence) on board lends cachet, but the film falls curiously flat.

Tribeca 2022: Deep Sea (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 17, 2023)

https://i0.wp.com/digbysblog.net/wp-content/uploads/2023/06/image-62.png?w=800&ssl=1

Xiaopeng Tian’s colorful 3-D animation fantasy follows the dreamlike journey of a melancholy little girl named Shenxiu (voiced by Wang Ting Wen) after she falls overboard during a storm while on an ocean cruise with her father, stepmother, and baby brother. Shenxiu longs to reconnect with her biological mother, who she hasn’t seen or heard from since her parents’ divorce. Akin to the little boy in Where the Wild Things Are, Shenxiu encounters strange and wondrous characters that embody her troubled emotional state; anthropomorphic creatures that also serve as avatars for the people who are closest to her. An imaginative and family-friendly adventure in the vein of Hayao Miyazaki’s Spirited Away.

Tribeca 2023: Hey, Viktor! (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 17, 2023)

https://i0.wp.com/digbysblog.net/wp-content/uploads/2023/06/image-64.png?resize=1024%2C576&ssl=1

In 1998, a low-budget indie dramedy called Smoke Signals became a hit with critics and festival audiences. It was also groundbreaking, in the sense of being the first film to be written (Sherman Alexie), directed (Chris Eyre) and co-produced by Native Americans. The film was a career booster for several Native-American actors like Gary Farmer, Tantoo Cardinal and Adam Beach. For other cast members, not so much …like 11-year-old Cody Lightning, who played Adam Beach’s character “Victor” as a youngster.

Fast-forward 25 years. Cody Lightning plays (wait for it) Cody Lightning in his heightened reality dramedy (co-written with Samuel Miller), which reveals Cody has hit the bottom (and the bottle). Divorced and chronically depressed, his portfolio has dwindled to adult film gigs and half-finished screenplays about zombie priests. When his best friend and creative partner Kate (Hannah Cheesman) organizes an intervention, Cody has an epiphany…not to stop drinking, but to make a Smoke Signals sequel. All he needs now is a script, some of the original cast, and (most importantly) financial backing.

Reminiscent of Alexandre Rockwell’s In the Soup, Hey, Viktor! is an alternately hilarious and brutally honest dive into the trenches of D.I.Y. film-making (I was also reminded of Robert Townshend’s Hollywood Shuffle, in the way Lightning weaves issues like ethnic stereotyping and reclamation of cultural identity into the narrative). The cast includes Smoke Signals alums Simon Baker, Adam Beach, Gary Farmer, and Irene Bedard.

Tribeca 2023: Richland (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 10, 2023)

https://i0.wp.com/digbysblog.net/wp-content/uploads/2023/06/image-40.png?resize=768%2C432&ssl=1

[Shame mode] All the times I’ve zipped by the I-82 turn-off to Richland, Washington while driving on I-90 and thought “hey, isn’t that where that Hanford superfund nuclear thingy is?” I’ve never stopped to ponder its historical significance. Adjacent to the Hanford Nuclear Site that was built in the early 1940s to house nuclear government workers at the height of the Manhattan Project, Richland is, in essence, a company town; a true-to-life “atomic city” with a problematic legacy.

Then again, according to Irene Lusztig’s absorbing documentary, how “problematic”  depends on who you talk to. For example, many current residents don’t see why anyone would make a fuss over the local high school football team’s “mascot”, which is a mushroom cloud. The town manufactured weapons-grade plutonium for decades following the end of WW2 (to which  they had a direct hand in “ending”, via providing the plutonium for the ”Fat Man” nuclear bomb that was dropped on Nagasaki).

Lusztig incorporates archival footage for historical context; these segments reminded me of the 1982 documentary The Atomic Café. With Christopher Nolan’s anticipated biopic Oppenheimer looming (July 21st), this is a perfect primer for brushing up on America’s complex relationship with nuclear energy.

Tribeca 2023: The Future (**1/2)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 10, 2023)

https://i0.wp.com/digbysblog.net/wp-content/uploads/2023/06/image-39.png?resize=1024%2C576&ssl=1

A near-future tale about a surrogate mother-daughter relationship between an Israeli scientist (Reymond Amsalem), and a Palestinian college student (Samar Qupty) who has confessed to assassinating Israel’s Minister of Space and Tourism. The scientist heads “The Future Project”, which uses algorithms to predict terrorist attacks (shades of Philip K. Dick). The scientist has asked permission to conduct a psychological study of the young woman to determine why her crime eluded prediction. More “science-fiction” in tone than production design, writer-director Noam Kaplan’s economical film is essentially a chamber drama, bolstered by earnest lead performances but bogged down by its heavy-handed allegory.

Tribeca 2023: Downtown Owl (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 10, 2023)

https://i0.wp.com/digbysblog.net/wp-content/uploads/2023/06/image-38.png?w=1024&ssl=1

It took me a while to get into the rhythm of this quirky comedy-drama, which begins with a nod to Savage Steve Holland (palpable Better Off Dead energy) then pivots into a more angsty realm (as in Ang Lee’s The Ice Storm). Adapted from Chuck Klosterman’s eponymous novel by writer-director Hamish Linklater (no relation to Richard), the story is set during the winter of 1983-1984 in a North Dakota burg (where everybody is up in everyone else’s business).

Julia (Lily Rabe) is a 40-ish, recently engaged, self-described “restless” soul who has just moved to Owl to take a teaching position at a high school. Episodic; we observe Julia over a period of several months as she acclimates to her new environs. She strikes up a friendship with a melancholy neighbor (Ed Harris) and pursues a crush on a laconic buffalo rancher (I told you it was quirky). There’s a sullen high school quarterback, and a pregnant teen (it’s a rule). All threads converge when a record-breaking blizzard descends on the sleepy hamlet. A bit uneven, but it grew on me.

Tribeca 2023: Against All Enemies (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 10, 2023)

https://i0.wp.com/digbysblog.net/wp-content/uploads/2023/06/image-37.png?resize=1024%2C576&ssl=1

In a post examining reaction from the Right when news broke this week that ex-president Trump was being indicted by federal prosecutors for alleged mishandling of classified documents, Digby included this disturbing tidbit:

What makes that even more chilling for me was that this all came down mere days after I saw Charlie Sadoff’s (incredibly) timely documentary. Sadoff’s study (which he co-wrote with Sebastian Junger and Kenneth Harbaugh) begins with an unsettling statistic: out of the approximately 1,000 people who have been officially charged for storming the U.S. Capitol building on January 6, 2021, 15% worked as police or military personnel. These are, of course, the folks who take an oath to support the Constitution of the United States.

The film not only delves into how military vets become radicalized but builds a timeline of modern right-wing extremism from the Ku Klux Klan’s public resurgence in the 1920s to current groups like the Proud Boys. The most revelatory “hidden history” aspect for me concerns the mid-70s to mid-80s-a period that saw a surge of Vietnam vets into various anti-government and racist groups, as well as the advent of “Liberty Net”, which holds the dubious distinction of being the first social network engineered by and for members of the neo-Nazi/white power movements.

Sadoff covers so much ground that this engrossing history begs a Ken Burns extended dance mix (occasional narration by Burns stalwart Peter Coyote adds to that flavor). That said, this is enough nightmare fuel for most viewers. You have been warned.