Category Archives: Drama

Drama, Family Issues, Mystery, Troubled Teens

The antisocial network: The Sisterhood of Night ***

October 1, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 11, 2015)

Jeez…adolescence was traumatic enough before the internet and advent of cyber-bullying (yes, I’m that old). Unfortunately (and perversely), it’s become much easier for the perpetrators and that much tougher on the victims. Your tormentors no longer have to hang out after school, bundled up for inclement weather, waiting for you to finish with chess club so they can stomp on your glasses (or worse). Now, they can chill out in the comfort of their parent’s basement, cloaked in anonymity, as they harass, denigrate, flame, impersonate, or stalk ‘til the cows come home (with virtual impunity).

But hey, enough about our comment section (you know I’m a kidder).

They are certainly not kidding around about the darker side of social media in The Sisterhood of Night, the debut feature film from director Caryn Waechter. Adapted by Marilyn Fu from a short story by Steven Millhauser, it’s a sharply observed, contemporary take on the Salem witch trials. The “sisterhood” in question is comprised of an insular trio of high-school students (Georgie Henley, Willa Cuthrell-Tuttleman, and Olivia DeJonge), who make a pact to disengage from social media; opting instead for late-night gatherings in the woods.

What they “do” there (wouldn’t you like to know?) is a mystery; and in an era where people compulsively hit “send” to share too much information about what they’re up to every waking moment, this secretiveness naturally makes them suspect. For personal reasons (which I won’t reveal here) one of their classmates (Kara Hayward) starts her own nasty whisper campaign about the girls on her low-traffic blog, igniting a firestorm of small-town hysteria, which escalates into a media feeding frenzy.

This film blindsided me, going in some unexpected directions. It was also deeper and more emotionally resonant than I had anticipated (judge not a movie by its trailer, which suggested something along the lines of Heathers meets The Virgin Suicides). The performances are all quite good; especially from the four leads, with excellent support from Kal Penn (as a guidance counselor) and Laura Fraser (as the mother of one of the girls). Sensitive direction, atmospheric photography by DP Zak Mulligan (particularly for the night scenes) and a moody score from The Crystal Method rounds things off nicely.

Big Money, Corporate Intrigue, Drama

Rich and strange: Welcome to New York **1/2

October 1, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 4, 2015)

In my 2009 review of Tom Tykwer’s conspiracy thriller, The International, I observed:

The timing of the film’s release is interesting, in light of the current banking crisis and plethora of financial scandals. From what I understand, certain elements of the story are based on the B.C.C.I. scandal. I predict this will become the new trend in screen villains-the R. Allen Stanfords and Bernie Madoffs seem heaven-sent to replace Middle-Eastern terrorists as the newest Heavies du Jour in action thrillers. You can take that to the bank.

While it is not a “action thriller” per se, Abel Ferrara’s new film, Welcome to New York, is likewise “ripped from the headlines”, involves an evil banker, and agog with backroom deals and secret handshakes. More specifically, the film is based on the Dominique Strauss-Kahn scandal. In case you need a refresher, he was the fine fellow who was accused and indicted for an alleged sexual assault and attempted rape of a maid employed by the ritzy NYC hotel he was staying at during a 2011 business trip.

The case was dismissed after the maid’s credibility was brought into question (Strauss-Kahn later admitted in a TV interview that a liaison did occur, but denied any criminal wrongdoing). I’m sure that the fact that Strauss-Kahn happened to be head of the International Monetary Fund at the time (and a front-runner in France’s 2012 presidential race) had absolutely nothing to do with him traipsing out from the sordid affair smelling like a rose.

There’s no question that Bronx native Ferrara loves New York; nearly all of the two dozen or so films to his credit have been set in the Big Apple. And like many New Yorkers, Ferrara loves a parade, which is likely why he opens his new film with a veritable parade of high-priced call girls, rotating in and out of one particular NYC hotel room in cadres of three or four at a time. Their insatiable client is one Mr. Devereaux (Gerard Depardieu), a powerful international financier. Sweaty, wheezing and boorish, he’s nobody’s dream date, but the sad fact remains…money talks, bullshit walks (bringing to mind my favorite line from Swingers: “What do you drive?”).

Sometime after the revelries subside, a maid enters (thinking the room unoccupied), and encounters our apparently still frisky Mr. Devereaux, fresh from the shower. Ferrara cleverly (and thankfully) pulls away before we can bear witness to what happens next, but then devotes the remainder of the film dealing with the fallout.

This film left me feeling ambivalent; I think this is because the director seems ambivalent toward his subject. Not that a film inspired by a true story (especially one that so closely mirrors the actual events) is required to be didactic, or a morality play, but Ferrara has taken a hyper-realistic approach that can be stultifying at times.

Still, it was a pleasant surprise to see Jacqueline Bisset back on the big screen (as Devereaux’s long-suffering wife). She seems to have made a graceful transition into a full-blooded performer; while perennially easy on the eye, I always found her characterizations wooden-but she puts more “character” into her work nowadays.

It is interesting watching the hulking Depardieu wrestle with the motivations (and what passes as the “conscience”) of his Dostoevskian character. It doesn’t make this creep any more sympathetic, but it is a fearless late-career performance, as naked (literally and emotionally) as Brando was playing a similarly loathsome study in Last Tango in Paris (not to go so far as to say that Ferrara is quite in the same league as Bertolucci, mind you).

Big Money, Drama, Great Depression

People they do bad things: Serena *1/2

September 29, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on March 28, 2015)

Off the rails: Bradley Cooper and Jennifer Lawrence in Serena

It’s a damn shame to see a good cast wasted. Such is the case with Danish director Susanne Bier’s curiously off-putting period melodrama Serena, which gets inextricably bogged down somewhere between torrid soap opera and watered-down Shakespearean tragedy. It appears Bier, despite having several acclaimed films to her credit (including 2011 Academy Award winner for Best Foreign Language Film, In a Better World), may have nodded off at the wheel this time out.

The story is set during the Great Depression. Bradley Cooper stars as George Pemberton, a burgeoning lumber baron who is carving (well, more like chopping) out an empire from the rugged woodlands of North Carolina. Being one of the most eligible bachelors in the holler, George is ever on the lookout for a wife.

One day, while he’s out shootin’ at some food, he spots the eponymous protagonist/future missus (Jennifer Lawrence), who literally comes riding into frame on a white horse; confident, mysterious and purty as all get-out.

Serena, as it turns out, is no shrinking violet. In fact, she is so headstrong that George’s second-hand man (David Dencik) takes an immediate disliking to her, especially after she muscles her way into hubby’s business. She’s also a sociopath, which becomes apparent as she morphs into a backwoods Lady Macbeth.

The machinations that ensue in Christopher Kyle’s muddled screenplay (adapted from the 2008 novel by Ron Rash) are at once so underdeveloped and over-the-top that, coupled with the histrionic performances, the film just misses qualifying as an “instant camp classic” (Fifty Shades of Grey is the one to beat this year).

There are a few steamy, pseudo-explicit moments with Cooper and Lawrence that may make you sit up straight and pay attention, but as the bard himself said…two or three inspired hump scenes alone doth not a good melodrama make.

Drama

Gidget goes submissive: Fifty Shades of Grey *1/2

September 29, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 14, 2015)

Fifty Shades of Grey: Makes 2 hours feel like 9 1/2 Weeks

Fifty Shades of Grey is either the most cleverly arch soft core porn parody of all time, or…they were trying to be serious. Hang on (with apologies to Jon Stewart), I’m receiving word that yes, they actually were trying to be serious. Oh…and I understand that it was apparently based on a novel, which I’m being told has done well with sales. I haven’t read the book, but if it is a virtually plotless, kinky sex fantasy that is curiously devoid of any kinkiness or sexiness, then I’m here to tell you that this is one film that’s faithful to the book.

It’s your typical tale of a virginal English Lit major named Anastasia Steele (Dakota Johnson) who meets cute with a hunky (and mysterious) Seattle-based 27 year-old bachelor billionaire businessman named Christian Grey (Jamie Dornan). And it’s like, you know, total kismet. Anastasia is a last-minute fill-in for her roommate Kate (Eloise Mumford), who was supposed to conduct an in-person interview with Mr. Grey at his corporate HQ for their college newspaper…but she got the flu (or something).

So anyway, Anastasia’s all like, you know, rolling her eyes and junk, but OK, she’ll do it, because she’s a good friend. Soon she is in Mr. Grey’s lofty, spacious and impressively appointed executive office, rattling off probing questions like “Are you gay?” from her roommate’s notes.

Faster than you can say “porn movie exposition”, Anastasia and Christian begin to display signs of Mutual Attraction. Mere days pass, and before Anastasia knows what hit her, Christian is handing her a contract for her to review and sign. You know, one of those contracts wherein the First Party (the Submissive) agrees to all the terms dictated by the Second Party (the Dominant), which are, to wit, Abandon all Hope, Ye Who Enter Here…and to cater to every sexual whim of her dominant male master.

Some intriguing avenues pop up, but are not explored. For instance, there’s a glimmer of Hitchcock’s Marnie in Christian; a tormented, sexually dysfunctional character who hints at possible trauma earlier in life that has left him incapable of affection and love. Instead, he remains a cardboard figure, with no sense of depth or backstory after we learn early on that He’s Mysterious (Dornan’s one-note performance, which vacillates somewhere between catatonic and Ben Stiller’s “blue steel” look from Zoolander, doesn’t help).

To her credit, Johnson (an oddly endearing morph of Zooey Deschanel and Charlotte Gainsbourg) gives a palpable impression she’s having fun with her character, occasionally rising above Kelly Marcel’s insipid script, especially in a scene where Anastasia calls a “business meeting” with Christian to negotiate contract terms (‘Anal fisting’? That’s right out…and what exactly is a ‘butt plug’?). If the film had been intended as parody, that scene would be comedy gold.

But alas, the film is neither comedy, nor is it drama. Nor is it particularly kinky (despite the lovingly fetishistic camera pans of the accouterments that supplement Christian’s “play room”). Most notably, it’s not in the least bit sexy. In fact, it barely qualifies as soft core; it’s about as erotic as a TV ad for Viagra. Despite the intrinsically provocative nature of its SM theme, the film comes off as weirdly sanitized (it might as well be a remake of Beach Blanket Bingo).

While it lightly flirts with gender politics (who’s really in control of the relationship?) it is not making any discernible political statement (like the similar but far superior 2002 film, Secretary, or going back further-Swept Away or The Night Porter). The end result is a total wash. There’s no “there” there. The film is its own 51^st shade of grey. I’m reticent to lay blame at the feet of director Sam Taylor-Johnson, as I admired her debut film Nowhere Boy, but the buck has to stop somewhere.

I’m all for suspending my disbelief when I sit down to watch a narrative film (even a film that is somewhat devoid of a narrative…like this one, for example). But if you present me with a protagonist like Anastasia, who appears to be a literate, college-educated young woman with a strong sense of self, and then ask me to believe that she would miss so many red flags on the way to falling head over heels for a creepy sexual predator like Christian Grey? Not buying it for a second. Red flags, you ask? What about sweet talk like this: “I’d like to bite that lip. But I’m not touching you until I have written consent.” Or “I don’t do love.” Or “I don’t ‘make love’…I fuck.” (How dreamy! Betcha he says that to all the girls).

Not to mention the stalking behavior. Or the fact that he recoils from any attempt by Anastasia to express affection. Maybe I shouldn’t get so worked up; after all, who’s going to buy this premise anyway, in our modern, feminism-enlightened society? Wait a sec…now I’m being told that millions of people (the majority of them women) have literally bought into it…with 70 million copies of E.L. James’ books sold worldwide, record-breaking pre-sales of nearly 3 million movie tickets.

So perhaps at the end of the day it doesn’t really matter whether this film is “good” or “bad”. Maybe it’s just one of those critic-proof “event” movies, so hotly anticipated that it comes out of the box robed by a protective cocoon of cultist devotees who will not be swayed by the nattering nabobs of negativism like Yours Truly.

After all, it’s only a movie. But it still begs the question: Why this film, with its weirdly draconian subtexts…and why now? Aren’t there enough stories on CNN about hostage-taking, torture and suffering (and lest we forget, ongoing systemic oppression of women around the world) to turn people off to the idea of hitching their star to an erotic fantasy about willingly signing up for this kind of shit?

Or am I overthinking again?

Drama, Fantasy, Show Biz

Floating weeds: Birdman or (The Unexpected Virtue of Ignorance) ***1/2

September 29, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 1, 2014)

I’m a huge fan of the 1957 “show-biz noir”, The Sweet Smell of Success, Alexander Mackendrick’s portrait of an influential New York newspaper columnist (Burt Lancaster), who can make or break the careers of actors, musicians, and comics with a flick of his pen. One of my favorite lines from Clifford Odets and Ernest Lehman’s infinitely quotable screenplay is uttered by Lancaster, as he sharpens his claws and fixes a predatory gaze down on the streets of Manhattan from his lofty penthouse perch: “I love this dirty town.”

Now, I don’t know if writer-director Alejandro Gonzalez Inarritu intended this as homage, but there is a scene in his new film, Birdman or (The Unexpected Virtue of Ignorance) where a character looks down at the streets of Manhattan from a lofty rooftop perch (after accepting a “dare” to spit on a random pedestrian below) and gleefully proclaims, “I love this town!”

Inarritu’s protagonist, on the other hand, would seem to have more of a love/hate relationship with “this” particular town; to get more neighborhood specific, with the Great White Way. His name is Riggan Thomas (Michael Keaton), and he’s doing all he can to keep mind and soul together as he prepares for the opening of his Broadway stage adaptation of a Raymond Carver short story.

There’s a lot riding on this project; Riggan is a movie star who has gone a little stale with the public in recent years. His main claim to fame is his starring role in a superhero franchise centering on a character named “Birdman” (I know…rhymes with “Batman”, but I won’t belabor the obvious).

In the meantime, the Broadway locals are sharpening their knives and getting ready to pounce on yet another one of these hack Hollywood “movie stars” who thinks he can just come traipsing into their sacred cathedral, make a pathetic grab at street cred, then go gallivanting back to his Beverly Hills mansion. Locals like Tabitha (Lindsay Duncan), a powerful New York Times theater critic (with echoes of Lancaster’s J.J. Hunsecker) who tells him (in so many words) that she is going to “kill” his play… before she has even seen it.

Adding to Riggan’s stress is his strained relationship with his acerbic, fresh-out-of-rehab daughter (Emma Stone), who he has hired on as his P.A., and his girlfriend/fellow cast member Laura (Andrea Riseborough), who is less than pleased with his ambivalent reaction to her announcement that she is pregnant.

An eleventh-hour replacement of one of his key players by a mercurial method hotshot (Edward Norton) exacerbates Riggan’s anxiety; especially after he deliberately derails the first preview performance by going off script and upstaging the star with manic improvisations. As Riggan cracks under the strain, he begins to receive advice and admonishments from Birdman (not unlike Anthony Hopkins and his dummy in Magic).

If you love tracking shots, you’ll have a dollygasm watching this film, as Inarritu and his DP Emmanuel Lubezki have seemingly conspired to concoct an extended 2-hour 12 inch dance mix version of Orson Welles’ audacious opening sequence in Touch of Evil. While this gimmick neither detracts nor adds anything to the story (aside from quite literally “moving things along” in the event you should encounter any lulls in the narrative), I felt it worth mentioning for anyone prone to motion sickness.

The vacillating tonal shifts from Noises Off-style backstage farce to dark satire, with a light seasoning of magical realism and occasional forays into mind-blowing fantasy sequences, could be jarring to some; yet cozily familiar to fans of Terry Gilliam, or Marc Caro and Jean-Pierre Jeunet.

While the central tropes of the film are somewhat dog-eared (Which holds more “truth”-stage or screen? If “acting” is, by definition, pretending, does a performance have to be “real” to be valid, or considered artful? And who gets to call it “art”…the critics? What the fuck do critics know, anyway? Did I just invalidate my entire review with that last rhetorical? Was that a wise move on my part? How do I now make a graceful egress out of this endless parenthetical? Why am I asking you?) Inarritu has framed them in an original fashion.

Most impressively, he has coaxed consistently top-flight performances from a sizable cast, which also includes Naomi Watts, Zach Galifianakis and Amy Ryan. Keaton has never been better (and the concept of such a great comeback performance by an actor playing a character who is an actor hoping for a great comeback performance is a veritable Matryoshka doll of super-meta). Oh, and you will believe a man can fly. Or not.

Behind the Music, Drama, Family Issues

Songs in the key of grief: Rudderless ***

September 29, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on October 18, 2014)

Sad fact #3,476: Mass shootings have become as American as apple pie; so much so that they have spurred their own unique (post-Columbine) film sub-genre (Bang Bang You’re Dead, Zero Day, Elephant, We Need to Talk About Kevin, Beautiful Boy, etc.). Not that its progenitor, the Grieving Parent Drama, hasn’t been a Hollywood staple over previous decades; films like Don’t Look Now, Ordinary People, The Sweet Hereafter, and The Accidental Tourist deal with the soul-crushing survivor’s guilt that results from the loss of a child. The child’s demise in those dramas was usually attributed to an accident, or a terminal illness. But it’s a different world now. And so it is we sadly add William H. Macy’s Rudderless to the former list.

There is only brief exposition in the film’s opening scene that alludes to the tragedy which lies at the heart of the story. A college student named Josh (Miles Heizer) sits alone in his dorm room with guitar in hand, playing and singing with fiery intensity as he records a demo of an original song into his laptop. He is visibly perturbed when he is interrupted; first by a fellow student who ducks his head in the door to say hey, then by a phone call from his father, an ad exec named Sam (Billy Crudup), who tries to talk his son into ditching his next class so he can join him to help celebrate that he’s just landed a big account. When we next see Sam, he’s alone at the bar, glancing at his watch…indicating Josh was a no-show. As he prepares to leave, the bar’s TV blares that there’s been a mass shooting at Josh’s college.

Josh, we hardly knew ye. But we will get to know him…through his songs, which Sam discovers after his ex-wife (Felicity Huffman) drops off a car load of their late son’s musical equipment and cassette demos. It’s now two years after the incident, and a Jimmy Buffetized Sam is living on his docked boat, working odd jobs and wasting away every night in Margaritaville. He eventually steels himself to sift though Josh’s demos, and discovers that his son not only had a gift for soulful lyrics, but for coming up with hooks. He learns to play and sing Josh’s tunes. At first, he does it as personal grief therapy, then one night he performs one at an open-mic performance. A young musician (Anton Yelchin) is so taken that he hounds Sam until he forms a band with him (or are they “forming” a father and son bond?)

Perhaps not surprisingly, Macy’s directorial debut is very much an “actor’s movie”, beautifully played by the entire cast (which also includes Laurence Fishburne, Selena Gomez, Ben Kweller, and Macy as a club manager). Crudup is a particular standout; this is his most nuanced turn since his breakout performance in the 1999 character study Jesus’ Son. The script (co-written by the director along with Casey Twenter and Jeff Robison) could have used tightening (by the time the Big Reveal arrives in the third act, it lacks the intended dramatic import due to all of the telegraphing that precedes it).

Certain elements of the narrative reminded me of Bobcat Goldthwait’s dark 2009 sleeper, World’s Greatest Dad (recommended, especially for Robin Williams fans). Still, despite some hiccups and predictable plot points, Macy has fashioned an absorbing, moving drama, with a great soundtrack (composed by Eef Barzelay, Charlton Pettus, and Simon Steadman). The songs performed by the band are catchy…in a mid90s, Chapel Hill alt-rock kind of way. Macy’s film is a sad song, but you can dance to it.

Drama, Family Issues

Days of whine and neuroses: My Old Lady 1/2 & A Master Builder *

September 28, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on September 20, 2014)

Drunken boor(s): Kevin Kline hams it up in My Old Lady

What am I, a theater critic now? The truthful answer would be “no”, but through some luck of the draw, I find myself reviewing two films rooted in the boards. Quiet in the wings, please. First up is My Old Lady, adapted for the screen by long-time playwright/first-time film director Israel Horovitz from his own original stage production.

As I am wholly ignorant regarding Mr. Horovitz’s oeuvre (save for the film version of his Author! Author!), I may be talking out of school, but the setup in his film feels straight outta Neil Simon, in the vein of The Goodbye Girl or The Odd Couple. Kevin Kline stars as a self-absorbed New Yorker (is that redundant?) who inherits a spacious Parisian apartment from his late father.

It’s a pretty sweet deal, with just two minor drawbacks: 1) A stalwart nonagenarian (Dame Maggie Smith) and her daughter (Kristin Scott Thomas) are already in residence, and 2) An obscure French law that not only forbids the chagrined (and strapped for cash) heir from selling “his” apartment until the old lady kicks…but requires him to pay her a monthly stipend, under penalty of losing ownership.

While the setup promises a lightweight Simonesque romp, the ensuing tonal shift makes for more of a Pinteresque pity party; its punch bowl brimming with lies, bitterness and a Family Secret (which you’ll see coming a mile away).

Still, if you have to be stuck in a dusty old Parisian apartment for 107 minutes with three actors hogging the screen time, you could do worse than Kevin Kline, Dame Maggie Smith, and Kristin Scott Thomas (with a peep from the wonderful Dominique Pinon). I only wish Horovitz had given his formidable trio of stars more interesting things to do and say.

Joy and pane: A Master Builder

Moving now from an overcrowded Parisian apartment to a sprawling mansion, the mood oddly turns more claustrophobic. Maybe this has something to do with the fact that Jonathan Demme’s A Master Builder is derived from an Ibsen play (rarely a romp in the fields).

Wallace Shawn (who adapted the screenplay from a new translation) stars as a well-to-do architect named Solness, the man who designed that mansion, and a good many others in the small (New England?) town he lives in with his long-suffering wife (Julie Hagerty). Long suffering for many reasons; not the least being the fact that her husband is a manipulative asshole (I’m not sure if that’s the literal translation from the original Norwegian, so pardon my French, and my bad English, if it ain’t).

However, this may all soon become moot, because we find the soulless Solness bedridden with some kind of indeterminate (but obviously terminal) illness, being fussed over by his wife, his doctor (Larry Pine) and his bookkeeper/mistress (Emily McDonnell).

Here’s where you need to start paying attention. Solness’ mistress is also the fiancée of his most promising protégé (Jeff Biehl), whom he has nonetheless been keeping down (remember, he’s an asshole), much to the chagrin of the gifted young architect’s sickly father (Andre Gregory), who pleads with his long-time frenemy to promote his son and let him prove his mettle. Solness refuses to comply.

Enter the Free Spirited Other (Lisa Joyce), a vivacious young woman who appears out of the blue on his doorstep (or does she…hmm). All the poisons that lurk in the mud are about to hatch out.

It’s a little bit A Christmas Carol, a little bit Tempest, a little bit All That Jazz (sans dancing), and a whole lot of angst. But again, we must consider the source material (Pop quiz: How many famous Scandinavian comedians can you name, off the top of your head? I rest my case).

Still, the script crackles with seriocomic intelligence, the cast is excellent (the radiant and charismatic Joyce is a particular standout and a great discovery) and it’s a kick to see Shawn reunited (albeit briefly) with his My Dinner With Andre co-star Gregory.

At first, Demme (Melvin and Howard, The Silence of the Lambs, Married to the Mob, Something Wild) seemed to me to be an odd choice for helming such a stagey talk fest, but refreshing myself on his resume, I realize he’s no stranger to filmed stage performance (Stop Making Sense, Swimming to Cambodia, Storefront Hitchcock). His direction here is subtle; at once coolly omniscient and warmly intimate.

Drama, Rock 'n' Roll, School Days, Troubled Teens

Teenage rampage: Palo Alto (*1/2) & We Are the Best! (***)

September 28, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 14, 2014)

School daze: Palo Alto

It’s tempting to call Gia Coppola’s directing debut, Palo Alto, a Hollywood home movie. Her mom (Jacqui Getty) is in the cast, as well as her cousin (Bailey Coppola) and her great aunt (Talia Shire). Another cousin (Robert Schwartzman, brother of Jason and son of Talia) is co-credited for the music. And her granddad (do I need to tell you who he is?) has a voice over cameo (unbilled). But I won’t do that; I will maintain professional integrity, and judge her film strictly on its own merits (are you buying this?).

Okay, one more thing I should give you a heads up on. Coppola’s film revolves around the travails of bored, mopey, privileged teenagers, which puts her at risk being accused of riding aunt Sofia’s coattails. Again, I won’t go there.

While the film is an ensemble piece about a group of northern California high school students, there is a protagonist. Her name is April (Emma Roberts, daughter of Eric). Saddled with the mantle of “class virgin”, April is a sensitive and withdrawn senior who plays on the soccer team.

As her hormones begin to burble and roil, exacerbated by peer pressure from her sexually active girlfriend Emily (Zoe Levin), April finds herself conflicted by a dual attraction to her coach (James Franco) and more age-appropriate classmate Teddy (Jack Kilmer, son of Val…who plays April’s dad). Emily has already taken Teddy for a test drive, as well as his best bud Fred (Nat Wolff), a surly James Dean type (we know this due to his tell-tale red jacket).

Coppola adapted her screenplay from cast member Franco’s book, Palo Alto: Stories. I haven’t read it, but a critic from Publisher’s Weekly certainly has. Here’s their conclusion:

The overall failure of this collection has nothing to do with its side project status and everything to do with its inability to grasp the same lesson lost on its gallery of high school reprobates: there is more to life than this.

Working from the assumption this is an accurate assessment of the source material, I can say that Coppola has made a film that is pretty faithful to the book (if you catch my drift). Roberts has a compelling presence, and Kilmer’s River Phoenix vibe will serve him well in future endeavors, but the narrative has been done to death, and with much more style and originality (try renting Foxes, Kids, Ghost World, Election, or River’s Edge instead).

I was a teenage anarchist: We Are the Best!

It may seem counter-intuitive to ascertain that We Are the Best! (or any movie about punk rockers) is “endearing” but you’ve just got to love a rhyming couplet that matches up “morgue” with “Bjorn Borg”. That’s a line from “Hate the Sport”, written by 13 year-old friends Bobo (Mira Barkhammer) and Klara (Mira Grosin).

The city is Stockholm, the time is the early 1980s, and Bobo and Klara really hate P.E. class, which has inspired the pair to sign up for time at their school’s rehearsal space on a whim, so they can compose their punk anthem. While the space comes equipped with a drum kit and bass guitar, there is one drawback…neither of the girls knows how to play an instrument. But they do have the ethos (besides, Klara already sports a Mohawk) so they’re already halfway there.

Ostracized by their classmates for their tomboyish looks and demeanor, Bobo and Klara have formed their own social club of two. While Bobo is brooding and introspective, Klara is the more brash and outspoken of the pair. Klara also attaches great importance to maintaining one’s punk cred (in one particularly amusing scene she laments about her older brother being a “sellout” because he’s started listening to Joy Division).

Still, attitude and cred alone will only get you so far if you really want to actually start making music, so how should they go about learning a chord or two? Salvation arrives in the unlikely guise of classically trained guitarist Hedwig (Liv LeMoyne), whom they espy performing in their school’s talent show. She is a devout Christian…but nobody’s perfect.

The trio of young leads have wonderful chemistry, and are able to telegraph those vacillating jumps between vibrant exuberance and painful awkwardness in a very authentic manner.

I should warn parents that while I refer to the film as “endearing”, and would definitely consider it “girl power-positive”, I wouldn’t call it “family friendly” (it’s labelled with the nebulous “NR”, but has plenty of R-rated dialog).

Writer-director Lukas Moodysson (who adapted the screenplay from a comic book created by his writer-musician wife, Coco) has fashioned an entertaining dramedy that nicely encapsulates the roller coaster of emotions that define the early teen years.

Action, Drama, Thriller

Tracks of my fears: Last Passenger (*1/2) & a Top 5 list

September 27, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 26, 2014)

Uh…I believe that was my stop: Last Passenger

You don’t see that many train thrillers these days. They’re still around, but it seems that filmmakers aren’t pumping them out as frequently as they once did. And if you do see one, more often than not you have seen it before. Could it simply be “they just don’t make ‘em like they used to”? Don’t know. Mongo only pawn, in game of life. Have something to do with where choo-choo go. Or perhaps it’s one of those movie genres that has simply played itself out. End of the line, literally and figuratively. But they do still try (oh, how they try!).

The latest attempt is the UK import Last Passenger, the feature-length debut for writer-director Omid Nooshin. Dougray Scott stars as a doctor (a widower) headed home on a late night London commuter train with his young son (Joshua Kaynama). As the train nears the end of its run, only a handful of passengers are left, including a young woman (Kara Tointon) bent on ingratiating herself with the doctor and his son, a young Polish hothead (Iddo Goldberg) who gets belligerent when a train guard asks him to put out his cigarette, a quiet and unassuming middle aged woman (Lindsay Duncan) and an enigmatic businessman (David Schofield).

Once the young hothead calms down, normalcy returns. All seems quiet. Too quiet. Faster than you can say “the lady vanishes”, the train guard mysteriously disappears, right about the time the passengers realize the train is blowing by its regularly scheduled stops…and “someone” has sabotaged the brakes. Uh-oh.

It reads like an intriguing setup for some good old-fashioned “thrills and chills on a runaway train”, but unfortunately the proceedings get bogged down by lackluster character development, uneven pacing, over-reliance on red herrings and gaping plot holes big enough to drive a flaming, out-of-control locomotive through.

Scott and Goldberg do the best they can with the material that they’re given, but Duncan’s talents are completely wasted and Tointon, while lovely, makes for a woodenly unconvincing romantic interest. I don’t know, maybe they caught me on a bad night, but if you buy the ticket, you’re going to have to take the ride. I’d rather take the bus. Or walk.

OK, this week’s film isn’t exactly a genre classic. However, if you are still up for catching a train thriller, here are my picks for 5 that are:

La Bete Humaine– The term film noir hadn’t become part of the cinematic lexicon yet, but Jean Renoir’s naturalistic 1938 thriller could arguably be considered one of the genre’s blueprints; in fact, it still looks and feels quite contemporary. Jean Gabin is mesmerizing as a brooding train engineer plagued by blackouts, during which he commits uncontrollable acts of violence, usually precipitated by sexual excitation (Freudians will have a field day with all those POV shots of Gabin chugging his big, powerful locomotive through long dark tunnels).

The beautiful Simone Simon sets the mold for all future femme fatales, played with an earthy sexuality not usually found in films of the era. Curt Courant’s moody cinematography, and an overall vibe of existential malaise doesn’t exactly make for a popcorn flick, but noir fans will eat it up. Fritz Lang’s 1954 remake, Human Desire starred Glenn Ford and Gloria Grahame.

Emperor of the North– The “train-top donnybrook” is a time-honored tradition in action movies (and has helped put more than one stunt man’s kid through college), but for my money, few can top the climactic confrontation between Lee Marvin and Ernest Borgnine in this 1973 adventure directed by the eclectic Robert Aldrich.

Marvin plays a Depression-era hobo who is considered a sort of “A lister” among those who ride the rails of the Pacific Northwest; the ultimate “ramblin’ guy” who knows how to keep one step ahead of the dreaded railroad bulls. Borgnine plays his nemesis, a sadistic railroad conductor who prides himself on the fact that no hobo has ever made it to the end of the line on his watch (he sees to that personally, usually in medieval fashion). Marvin is up for the challenge; it’s a steam-powered “battle of the titans”. Keith Carradine gives an interesting performance as a cocky, not-so-bright wannabe who attaches himself to Marvin’s coattails. The film works as both rollicking adventure yarn and offbeat character study.

The Lady Vanishes– This 1938 gem is my favorite Hitchcock film from his “British period”. A young Englishwoman (Margaret Lockwood) boards a train in the fictitious European country of Bandrika. She strikes up a friendly conversation with a kindly older woman seated next to her named Mrs. Froy, who invites her to tea in the dining car. The young woman takes a nap, and when she awakes, Mrs. Froy has strangely disappeared. Oddly, the other people in her compartment deny ever having seen anyone matching Mrs. Froy’s description.

The mystery is afoot, with only one fellow passenger (Michael Redgrave) volunteering to help the young woman sort it out (oh, he may have some romantic motivations as well). Full of great twists and turns, and the Master truly keeps you guessing until the very end. The production design may seem creaky, but for my money, that’s what lends this film its charm. It’s clever, witty and suspenseful, with delightful performances all around.

Silver Streak– Director Arthur Hiller and Harold & Maude screenwriter Colin Higgins teamed up for this highly entertaining 1976 comedy-thriller, an unabashed homage to Hitchcock’s North by Northwest. Gene Wilder stars as an unassuming, bookish fellow who innocently becomes enmeshed in murder and intrigue during a train trip from L.A. to Chicago. Along the way, he also finds romance with a charming woman (Jill Clayburgh) who works for a shady gentleman (Patrick McGoohan) and bromance with a car thief (Richard Pryor) who may be his best hope for getting out of his predicament.

It’s pure popcorn escapism, bolstered by the genuine chemistry between the three leads. All the scenes with Wilder and Pryor together are pure comedy gold. Pryor had originally been slated to team up with Wilder two years earlier, as “Sherriff Bart” in Blazing Saddles, but Cleavon Little got the part; Wilder and Pryor ended up doing 3 more films together after Silver Streak.

The Taking of Pelham, 1-2-3 (original version)- In Joseph Sargent’s gritty, suspenseful 1974 thriller, Robert Shaw leads a team of bow-tied, mustachioed and bespectacled terrorists who hijack a New York City subway train, seize hostages and demand $1 million in ransom from the city. If the ransom does not arrive in precisely 1 hour, passengers will be executed at the rate of one per minute until the money appears.

As city officials scramble to scare up the loot, a tense cat-and-mouse dialog is established (via 2-way radio) between Shaw’s single-minded sociopath and a typically rumpled and put-upon Walter Matthau as a wry Transit Police lieutenant. Peter Stone’s sharp screenplay (adapted from John Godey’s novel) is rich in characterization; most memorable for being chock full of New York City “attitude” (every character, major to minor, is soaking in it),

Drama, Family Issues, School Days

Winsome wisps of WASP-y whinging: Breathe In **

September 27, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 5, 2014)

While I am aware that the “suspension of disbelief” is inherent to movie-watching, writer-director Drake Doremus and co-writer Ben York Jones are demanding a healthy amount of it from their audience with Breathe In, a tale of affluent angst set in John Cheever Land, shot in a formal, austere style recalling Robert Redford’s Ordinary People or Ang Lee’s The Ice Storm. First, you have to find 30 year-old Felicity Jones believable as an 18 year-old British exchange student named Sophie. There is certainly no problem for the UK-born actress to sell the “Brit” part…but chronologically, she’s too long in the tooth (like 30 year-old Dustin Hoffman was playing age “21” in The Graduate).

Then again, perhaps there was a method to this casting madness. Because you see, Sophie is one of those Old Souls. Which I’d guess is a device to make it more “believable” (and less creepy?) that she and the American host family’s Dad, Keith (Guy Pearce) experience some kind of instantaneous mutual attraction, telegraphed by an exchange of soulful stolen glances no sooner than Keith and his wife Megan (Amy Ryan) pick Sophie up at the airport to drive her to their upstate New York digs, where she will be sharing a room with the couple’s 18 year-old daughter (Mackenzie Davis). Nothing creepy about it at all.

Keith is a mopey kind of fellow, one of those embittered, frustrated musicians who has pretty much given up his dreams and settled for teaching piano to high school students. “Keith will be your piano teacher at school. He has a hobby with the symphony,” Megan tells Sophie while making small talk during their ride home from the airport. Keith bristles, quietly hissing “It’s not just a hobby”. Keith plays cello, and has been subbing, but is on pins and needles regarding an upcoming audition for an open chair. “Would you give up teaching?” asks Sophie. “Yeah.” Keith answers without hesitation. One beat behind, Megan blurts a “No”. Houston, we have a problem.

Keith seems to be the only brooding artiste in the family. His daughter is an outgoing sort; a high school swim team champ, she’s a bit of a ditz (if likable enough). Likewise Megan, who goes all Martha Stewart over cookie jars. She collects and sells them online. Sophie smiles politely while pretending to be fascinated by an upcoming “cookie jar expo” that Megan is quite jazzed about. But in her heart of hearts, Sophie is an Outsider. Just like Keith, who shuts himself up in his room practicing for his audition and gazing wistfully at old photos of himself in younger days, when he played in a rock ’n’ roll band.

Curiously, Sophie wants to opt out of taking Keith’s piano class. When Keith asks her why, she is evasive, muttering cryptic excuses. Naturally, Keith is intrigued. He insists she has no choice; until she “officially” gets herself taken off the rolls via the school’s requirements, it is mandatory that she come to his class. Reluctantly, she shows up. Keith invites her to “play something” as a way of introducing herself to the the class. After shooting Keith one of those world-weary, “Are you sure this is what you want?” looks, Sophie sits down at the piano, and proceeds to blow the room away Van Cliburn-style, with what she introduces as one of “Chopin’s warm-up pieces” (whatever you’re thinking is going to happen next…you are correct).

Ay, there’s the rub. Unless you are clinically brain-dead, whatever you think is going to happen next in this film, it pretty much does. You’re always one act ahead . The actors are all quite good, and there are some nice touches; as in the way the director cleverly interpolates incidental musical interludes (e.g. Keith’s melancholy cello piece, Sophie’s fiery piano solo) with each character’s emotional turmoil. But there is a glaring lack of motivation for each character’s actions. They are just chess pieces, shuffling around on the thin outline of a narrative that isn’t quite all there. While there seems to have been a noble attempt to construct the story itself like a symphony (I get that) it unfortunately comes off like it’s an unfinished one, at best.