Category Archives: Mystery

My life in ruins: The Two Faces of January **

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on October 11, 2014)

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There’s something that Alfred Hitchcock’s Strangers on a Train, Wim Wenders’ The American Friend, Rene Clement’s Purple Noon (and Anthony Minghella’s 1999 remake, The Talented Mr. Ripley) all share in common (aside from being memorable thrillers). They are all based on novels by the late Patricia Highsmith. Hossein Amini’s directorial debut, The Two Faces of January, is the latest Highsmith adaptation…but that may be all it has in common with the aforementioned. Then again, perhaps only time will tell us that for sure (and it wouldn’t be the first time that History has proven me an ass; but I digress).

While Highsmith’s pet recurring character Tom Ripley is absent in this outing, we do have our requisite Young American Abroad Who Becomes Ensnared In Intrigue (bet you’re glad I didn’t say that he “gets caught in a web of deceit”). His name is Rydal (played by Inside Llewyn Davis star Oscar Isaac), an Athens-based tour guide/con man who scams tourists. He may have more than met his match when he runs into Chester (Viggo Mortensen), an apparently well-to-do American who is traveling through Europe with his young wife Colette (Kirsten Dunst). The three become quick friends. Too quickly. From the outset, Rydal and Chester circle each other warily, in such a way that telegraphs to the viewer that Someone’s Gonna End Up Dead. But who is conning who?

Don’t worry, I harbor no spoilers. If you’re an old-school mystery fan, and you’ve already read enough to be intrigued, I won’t stop you from buying a ticket. Just be forewarned: while this all sounds very Hitchcockian…don’t expect another Strangers on a Train here. The performances are good (Mortensen in particular) and the location filming is lovely, but there is something curiously static about the production. Maybe it’s because feels like something you might stumble across on PBS while channel-surfing on a Sunday night? I can’t put my finger on why it didn’t work for me. That’s the mystery…

The big whirl of little atoms: Particle Fever ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on March 15, 2014)

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What I know about particle physics couldn’t fill a flea’s codpiece. And if you’re like me (isn’t everyone?), I’d bet you don’t spend a good deal of your day contemplating quarks, hadrons, mesons or baryons (wasn’t he a famous English poet?). Nonetheless, I found Particle Fever, physicist-turned-filmmaker Mark Levinson’s documentary about a group of folks who do spend a good deal of their day thinking about such things, to be much more riveting than I had expected. Levinson documents the years of experiments and painstaking analysis that led up to the astounding announcement in 2012 that scientists had successfully identified the elusive “Higgs boson” (aka “The God Particle”), which could be the crucial key in proving that The Big Bang is, well, more than just a “theory”.

Levinson gives equal time to the empirical and theoretical schools of thought on this groundbreaking discovery. The former group is represented by the physicists who work at CERN, which houses the Large Hadron Collider (an immense complex that resembles the set of Metropolis), and the latter by academics and theoreticians. While largely concerning itself with the parsing of the scientific minutiae, it is the sometimes uneasy yet necessary yin-yang partnership between those camps that lends the film a very human center. One theoretical physicist sums it up best when he bemusedly wonders aloud if this discovery makes the previous 40 years of his life meaningless. Higgs boson only knows…

SIFF 2014: This May Be the Last Time ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 31, 2014)

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Did you know that the eponymous Rolling Stones song shares the same roots with a venerable Native-American tribal hymn, that is still sung in Seminole and Muscogee churches to this day? While that’s far from the main thrust of Sterlin Harjo’s documentary, it’s but one of its surprises.

This is really two films in one. On a very personal level (similar in tone to a 2013 SIFF documentary selection, Sarah Polley’s Stories We Tell), Harjo investigates a family story concerning the disappearance of his Oklahoman Seminole grandfather in 1962.

After a perfunctory search by local authorities turned up nothing, tribal members pooled their resources and continued to look. Some members of the search party kept up spirits by singing traditional Seminole and Muscogee hymns…which inform the second level of Harjo’s film.

Through interviews with tribal members and musicologists, he traces the roots of this unique genre, connecting the dots between the hymns, African-American spirituals, Scottish and Appalachian music. The film doubles as a fascinating history lesson, as well as a moving personal journey.

SIFF 2014: Lucky Them ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 31, 2014)

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This wry, bittersweet road movie/romantic comedy from Seattle-based director Megan Griffiths benefits greatly from the pairing of Toni Collette and Thomas Haden Church, playing a rock journalist and first-time documentarian (respectively). They team up to search for a celebrated local singer-songwriter who mysteriously disappeared. What they find may not be what they were initially seeking. It reminded me of the 1998 UK rock ‘n’ roll comedy Still Crazy. And for dessert, there’s a surprise cameo!

SIFF 2014: Kinderwald **

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 24, 2014)

If Terrence Malick had directed The Blair Witch Project, it might resemble Lise Raven’s naturalistic period drama, set in the backwoods of 1850s Pennsylvania. The story centers on the reaction of a clannish pioneer community after two boys mysteriously vanish from their family’s encampment. While one gets a sense that the film was a labor of love for its creator, any noble intentions are undermined by a dull script and stilted acting. On the plus side, it is nicely photographed and imbued with period flavor; however, despite a compelling setup, the narrative itself wanders off and gets lost.

Blu-ray reissue: The Long Goodbye ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 6, 2014)

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The Long Goodbye – Kino Video Blu-ray

If there is something vaguely familiar about the shambolic anti-hero of Robert Altman’s 1973 L.A. noir, it’s because he was clearly the inspiration for the protagonist in the Coen Brothers’ 1998 film, The Big Lebowski (at least that’s my theory). Granted, the “Dude” is a purely circumstantial “detective” who becomes embroiled in a complex mystery, and Philip Marlowe (Elliott Gould) is an actual shamus…who becomes embroiled in a complex mystery.

But both characters are wise asses, which tends to land them in hot water. Yet both also share a kind of Zen philosophy that helps them land on their feet. Gould’s Marlowe slouches his way through Altman’s slyly arch reinvention of the stock Raymond Chandler milieu with a bemused detachment, denoted by a shrug and a mumbled catchphrase that he repeats throughout the film (“It’s OK with me.”).

Leigh Brackett’s screenplay is rich in characterization; which is a good thing, because the plot is byzantine to the point of self-parody (which I’m sure was the intent). The great supporting cast includes Sterling Hayden, Nina van Pallandt and Henry Gibson. Director Mark Rydell (Cinderella Liberty, The Reivers, On Golden Pond) makes a rare acting appearance (and steals all his scenes) as a sadistic gangster.

Kino Video’s Blu-ray transfer, while on the grainy side, is still a marked improvement over MGM’s DVD. Extras include a session with Altman and Gould recalling the making of the film, and an interesting segment with the great cinematographer, Vilmos Zsigmond.

Blu-ray reissue: Twin Peaks: the Entire Mystery ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 9, 2014)

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Twin Peaks: the Entire Mystery – Paramount Blu-ray (box set)

Who killed Laura Palmer? Who cares? The key to binge-watching David Lynch’s short-lived early 90s cult TV series about the denizens of a sleepy Northwestern lumber town and their twisted secrets is to unlearn all that you have learned about neatly wrapped story arcs and to just embrace the wonderfully warped weirdness. The real “mystery” is how the creator of avant-garde films like Eraserhead and Blue Velvet managed to snag a prime time network TV slot in the first place…and got away with it for two seasons! Paramount’s Blu-ray box set sports vibrant transfers and crisply re-mastered audio tracks. Extras include the “international” cut of the pilot episode, and the “prequel” feature film, Twin Peaks: Fire Walk with Me. All  extras from the DVD “gold box” are ported over, with new bonus material.

Highway 61 revisited: Mud ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 27, 2013)

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There’s a lot of mystery in Mud, writer-director Jeff Nichols’ modern-day Tom and Huck adventure-cum-swamp noir…not the least of which is how a 14 year-old Arkansas river rat named Neckbone came to be in possession of a Fugazi t-shirt (these are the little throwaway details in movies that keep me up nights-I’m pretty sure I need medication). However, that isn’t the central mystery; this tale is chuck-full of characters with Dark Secrets murkier than the black waters of the Mississippi that burble and roil throughout it.

The aforementioned Neckbone (Jacob Lofland) plays second fiddle to our young protagonist Ellis (Tye Sheridan). Ellis and Neckbone, who grew up together in a clannish riverbank neighborhood, kill time exploring their environs in a motorboat. While scouting a tiny island in the middle of the Mississippi, they happen upon a boat that has been stranded high up in a tree (now there’s a mystery).

Assuming that the wreck is abandoned (and being 14 year-old boys) they declare dubsies and agree to keep it a secret between the two of them. However, further exploration reveals dismaying evidence that “someone” may already have laid claim to this one-of-a-kind tree house. When they return to their own boat, fresh footprints indicate that while they were up in the tree, “someone” else was also doing some recon. Enter “Mud” (Matthew McConaughey).

Although somewhat gaunt and feral in appearance, Mud turns out to be disarmingly laid-back and soft-spoken in countenance. He is also quite the raconteur, soon regaling the impressionable lads with his tale of woe. While it may appear that he’s been living by his wits on this veritable desert island for an indeterminate amount of time, it seems that he has but recently returned to the area with a Special Purpose: to reunite with his long-time ladylove, Juniper (Reese Witherspoon).

So why doesn’t he simply make the 20-minute boat ride into town and hook up with her? Well, there’s this slight hiccup. You see, since they were last together, Juniper left him for this other guy, who turned out to be an evil, physically abusive dirt bag. So Mud ended up sort of, well, killing him. And now, the guy’s congenitally felonious family (headed by veteran hillbilly heavy Joe Don Baker) is hot on his trail and gunning for vengeance. So Mud has to lay low. Despite the preponderance of red flags, Ellis and Neckbone offer to help Mud in his righteous quest.

What ensues is a hybrid of Stand by Me and Whistle Down the Wind, with a touch of Tennessee Williams (the presence of a startlingly grizzled Sam Shepard lends additional Southern Gothic cred). I also got the feeling that Nichols was striving to create a sort of mythic American folk tale, in the mold of Glen Pitre’s woefully underrated 1986 gem Belizaire the Cajun; particularly in the way he immerses you in a unique regional subculture, which in this case appears to have changed little since the days of Mark Twain.

While the director’s reach may exceed his grasp at times (due in part to his busy mishmash of character study, family melodrama, coming-of-age tale, love story, mythic folk tale and suspense thriller), the strong sense of place (Adam Stone’s cinematography artfully captures the sultry atmosphere of a torpid backwater), compelling music score (by David Wingo) and excellent performances add up to a perfect Sunday matinee movie.

Walden pondering: Upstream Color ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 20, 2013)

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You know all those Weekly World News-type stories about people allegedly kidnapped by aliens, who perform horrible experiments on their hapless captives before returning them to their original upright position behind the wheel of their car, now mysteriously relocated in the middle of a cornfield somewhere in Iowa? While they may have vague recollections regarding anal probes and such, these folks are generally a bit fuzzy on details. In Upstream Color, writer-director-actor Shane Carruth may be offering an explanation. At least that’s one explanation that I can offer for this fuzzy cipher.

To say this film is a riddle, wrapped in a mystery, inside an enigma is understatement. To say that it redefines the meaning of “Huh?!” may be more apt. A woman (Amy Seimitz) is jumped in an alley, tasered and then forced to ingest a creepy-crawly whatsit (all I know is that it appears to be in its larval stage) that puts her into a docile and suggestible state.

Her kidnapper however turns out to be not so much Buffalo Bill, but more Terence McKenna (I believe the original working title of this film was When Ethnobotanists Attack!) As he methodically cleans out her financial assets over a period of several days (with her “willing” cooperation) while encamped at her house, he next directs her to commit passages of Thoreau’s writings to memory (it was either that or waterboarding).

What happens next is…well, what happens next is, erm…OK we’ll just say it’s the creepy, fuzzily recollected part involving anal probes and such. All I know is that it takes place at a pig farm and fuzzily reminded me of that really creepy part of O Lucky Man! where Malcolm McDowell inadvertently stumbles into a top secret government medical research lab, where he’s tortured and then the next thing he knows he’s coming to on a gurney next to some poor wretched creature that appears to be half man and half sheep.

Anyhoo, the next thing the woman knows, she’s back behind the wheel of her car, parked alongside some cornfield off the interstate, and spends the rest of the movie slowly retrieving memories of her bizarre experience in bits and pieces. Oh, and along the way she meets and falls in love with this sullen dude (played by Carruth) who may have had the same exact experience! Wild and woolly metaphysical/transcendentalist hi-jinks ensue.

While I will give Carruth some points for originality (the closest I can come to a tagline for this one is A Man and a Woman meets Eraserhead) and find it admirable that he is making such an earnest effort to be compared to Andrei Tarkovsky, unfortunately he’s falling short, just this side of a glorified Twilight Zone episode.

This seems to be the latest entry in a burgeoning sub-genre that I have dubbed “emo sci-fi” (alongside the likes of Another Earth and Safety Not Guaranteed). That being said, if you are predisposed toward such challenging fare, I wouldn’t dissuade you from checking it out. And don’t feel bad if you don’t “get it” the first time you see it. I didn’t get it the second time I saw it, either.

Blu-ray reissue: The Seven Percent Solution ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 6, 2013)

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The Seven Percent Solution – Shout! Factory Blu-ray

Sir Arthur Conan Doyle’s super sleuth Sherlock Holmes has weathered an infinite number of movie incarnations over the decades, but none as fascinating as Nicol Williamson’s tightly wound coke fiend in this wonderful 1977 Herbert Ross film.

Intrepid sidekick Dr. Watson (Robert Duvall), concerned over his friend’s addiction, decides to do an intervention, engineering a meeting between the great detective and Dr. Sigmund Freud (Alan Arkin). Naturally, there is a mystery afoot as well, but it’s secondary to the entertaining interplay between Williamson and Arkin.

Screenwriter Nicholas Meyer (who adapted from his own novel) would repeat the gimmick two years later in his directing debut Time After Time, when he placed similarly odd bedfellows together in one story by pitting H.G. Wells against Jack the Ripper. Shout! Factory’s transfer is excellent; the Blu-ray also includes an interview with Meyer