Tragic Kingdom

The Florida Project

by Hope Madden

Full of the raucous rhythm of an unsupervised childhood, The Florida Project finds power in details and tells an unadorned but potent story.

Co-writer/director Sean Baker follows up his ambitious 2015 film Tangerine with another tale set gleefully along the fringes of society. Where Tangerine used weaves, stilettos and spangles to color the Christmas antics of Hollywood hustlers, here Baker fills the screen with bold colors and enormous, cartoonish images to create a grotesquely oversized playground.

The film begins with as perfect a movie opening as you will ever see.

Six-year-old Moonee (an astonishing Brooklynn Prince) wastes her summer days wandering the Orlando strip surrounding her home, a vivid purple bargain motel catering less to Disney World tourists than to tenants who can’t afford the security deposit world of traditional housing.

When she’s not out finding adventures with her besties Jancey (Valeria Cotto) and Scooty (Christopher Rivera), Moonee’s probably hustling wholesale perfumes to tourists with her mom Halley (Bria Vinaite).

The one true grown up in the mix, motel manager Bobby, is played with charm and tenderness by Willem Dafoe.

Baker’s many talents include an ear for authentic dialog, a knack for letting a story breathe and an eye for visual details that enrich a tale. But maybe what’s most striking is his ability to tell fresh but universal stories. We all remember elements of unbridled recklessness in our childhood, although very few of us grew up the way Moonee does.

Baker creates a bridge into Moonee’s life, revels in her freedom and bravado, but keeps us always aware of the dangerous edges when you’re blurring childhood and adulthood.

It’s the concept of childhood and adulthood that preoccupies Baker and his story, set in this absurd, low-rent amusement park of a world. As Mooney’s mother, Vinaite offers a fierce mixture of childishness all her own as well as street-savviness. Halley keeps the ugliness of the world away with her own whimsy, and Vinaite’s onscreen chemistry with Prince is authentic and full of tenderness.

As much as Tinsel Town was the perfect backdrop for the struggling glamour of Tangerine, the shadow of Disney World is almost too perfect a setting for the grinding poverty and perverted innocence of The Florida Project.

I Don’t Want to Go Out: Week of November 6

Not a half-bad haul in home entertainment this week. One pretty excellent social satire plus a decent ‘toon, not bad horror flick, nice little indie. And also the wildly disappointing The Glass Castle. But otherwise, not bad!

Ingrid Goes West

Cars 3

Patti Cake$

Killing Ground

The Glass Castle

The Gimpy Groupie

by Hope Madden

My husband George has lived through several Duran Duran concerts during our marriage—one in 2005 at Vets Memorial, the other a few years later at the Schott. In both cases, he made a valiant attempt to get me backstage to meet the objects of my absolutely rabid adolescent ardor.

George, who works in radio, culled favors from everywhere he could think of: other radio people, record reps, anyone. No dice. I know why he was unsuccessful. Every living female between the ages of 40 and 55 loves Duran Duran.

Seriously, it’s a documented fact.

Still, it was a failure that haunted him until he made good on his wish one weekend in Chicago at the House of Blues.

Having a gimp for a wife didn’t hurt.

Saddled with a walking boot from the foot surgery I’d had three weeks earlier, I approached the concert hall with crutches and a pin protruding from one toe.

It’s a great look.

The folks at the Houe of Blues couldn’t have been nicer, especially when their elevator broke down and I had to take three flights of steps to get to the standing room only concert. That was a lot of fun.

To make up for it, a security guard escorted George and me to a bar at the back of the room where a private party was happening.

Nearby, we saw a line of people making their way up a back staircase. George knows how to sniff out a meet-and-greet, so he began to investigate. He felt sure that, atop those stairs, we’d find Duran Duran.

But how to get there?

I was hardly in any condition to be stealthy or to outrun security.

George politely questioned several people as they made their way down the stairs. Some shunned him, but he persevered and determined that, yes, the line led to a backstage meeting. And I gleaned from conversations around me that some folks at the private party had paid $500 apiece for the honor of meeting the band.

It may sound excessive to you, but not to me. Or at least the part of me that still remembers being 13 years old and willing to sell a kidney—perhaps even my own—to meet Duran Duran.

Finally, George approached a woman who will forever be known as My New Best Friend. She saw my pitiful condition and lent George her pass to see the band.

Score!

I hobbled up the stairs. No one stopped me. Indeed, people felt merciful over my trudging around crippled and offered me a chair.

I could see Roger Taylor from where I sat in the hallway, injured foot tucked safely behind crutches.

For those of you outside the precious D2 demographic, Roger is the drummer and second cutest bandmate.

His spiky brunette locks and playful pout adorned my closet door.

It hung just below my most beloved John Taylor (bass player, born Nigel John Taylor, 6/20/60 to Jean and Jack Taylor in the Birmingham, England suburb of Hollywood).

I was the band’s last photo op, and I overheard their dismay when they learned the news, “Just one more.”

“One more,” Roger near-groaned as he walked toward the door. Then he eyeballed the gimp in the hall and realized the special circumstances of which I was so gleefully taking advantage.

“Oh, hon, what happened to you?” he asked me.

Mr. Roger Taylor just spoke to me. My brain began forming words. The 14-year-old Hope thought: My poster is talking right now. The fully grown adult brain began pulling together a response. My brain said, “I just had foot surgery.”

My mouth, on the other hand, let out a string of sounds bearing no relation whatsoever to the English language.

He winced in knowing embarrassment for me.

I assume I’m not the first female wearing a Duran Duran tee shirt who’s been unable to respond properly to a polite query from Roger Taylor.

Simon (singer) put his arm around me.

Nick (keyboardist with heavy lipstick) hoped I’d heal soon.

John steered clear, smiling from a safe distance.

Still: Best Day Ever.

Now, if you’ll excuse me, I have to put my arm in a sling and research some Cory Hart concert dates.

Never surrender!

The Screening Room: Let’s Get Hammered

Welcome to the Screening Room Podcast where break down the best and worse in theaters this week: Thor: Ragnarok, A Bad Mom’s Christmas, The Killing of a Sacred Deer, Goodbye Christopher Robin and LBJ. We also talk about what’s new in home entertainment and look ahead to next week in theaters.

Listen in HERE.

Scar Tissue

Blade of the Immortal

by Hope Madden

One hundred films in, you might expect director Takashi Miike to start repeating himself.

He does, in a way, with this big screen adaptation of the manga Blade of the Immortal, the tale of a samurai cursed with immortality.

Though Miike sticks mostly to genre work (horror, samurai, yakuza), his style veers wildly from one project to the next. Still, a thematic thread can be found in a lot of his films that questions the relevance of societal conventions. Though this theme was explored with a far more subversive touch in his 2001 gem Ichi the Killer, Blade of the Immortal shares a lot in common.

Manji (Takuya Kimura) is an insider on the outs. A samurai who’s killed his masters, he’s already doomed as the film’s prologue unwinds in gorgeous black and white. As Manji butchers his way through dozens of reprobates looking for the bounty on his head, Miike invites us into the hyperbolically brutal world of his imagination.

But it’s here, on the ground bleeding out surrounded by carnage of his own making, that Manji is gifted with immortality—a gift he takes to quite begrudgingly. Forever an outsider wanting to get farther out, he eventually takes up with an orphan bent on revenge.

Rin (Hana Sugisaki) lost her parents to outlaw bladesman Anotsu (Sota Fukushi) and his gang. Anotsu is an outsider who longs to be accepted. He’s skilled and serene where Manji is brutish and disheveled. They are opposite sides of the same coin, and for Rin’s sake, they become mortal enemies.

It’s not such an unusual plot, honestly. Though screenwriter Tetsuya Oishi complicates things with one side plot about Anotsu’s quest for acceptance and another about a rogue band of bounty hunters, the film basically boils down to one guy taking remarkable injury as he dispatches others due to sworn vengeance.

For two and a half hours.

Miike populates the corpse-strewn landscape with intriguing characters. Sure, they mainly exist to be dispatched by Manji, but each brings enough fresh personality and style to keep battle fatigue from setting in.

As is the case with his best efforts, Miike’s flair for fight staging, action choreography and bloodspatter—all of it in abundance—is on display. The result is a gorgeous, bloody mess that treads familiar ground but never wears out its welcome.

WTF

LBJ

by Hope Madden

This is Spinal Tap. Stand By Me. The Princess Bride. When Harry Met Sally. Misery. A Few Good Men.

What does that list say? That director Rob Reiner came out of the gates as a filmmaker who defined a generation. And also, that director Rob Reiner hasn’t made a good movie since the mid-Nineties.

LBJ does not turn that tide.

Reiner directs Woody Harrelson as our 36th president, a larger-than-life Southerner as crass as he was cunning, as charming as he was quarrelsome.

Maybe he just wanted to be loved.

I’m not kidding—that seems to be the thrust of Reiner’s film, written for the screen by Joey Hartstone. His script covers a window in Johnson’s career opening at his failed bid for the presidency and closing as he helps a mourning nation recover from the assassination of JFK.

Harrelson—as fine a character as you will find—relishes every second inside this conundrum of ego and insecurity. His scenes are riveting, particularly those he shares with another character actor of the highest order, Richard Jenkins. Jenkins portrays Georgia Senator Richard Russell, conservative and racist. The sparring between the two politicians, so ably brought to life by these talented actors, gives the film a sense of purpose as it sheds light on the true nature of Johnson’s character.

But the rest of it is bullshit.

Beautifully lit, clean-cut men looking earnest and overwhelmed, ask “How is he going to do all of it?” and receive the awe-struck answer, “The same way he always does.”

Aside from Harrelson and Jenkins, the ensemble is unable to rise far enough above Hardstone’s superficial writing and Reiner’s sentimental direction to leave a mark.

So Lyndon Baines Johnson, who pushed the Civil Rights Act through the Senate and mired us in the Vietnam War, is being remembered onscreen for pouting because the good looking rich kids who took over the White House wouldn’t let him in their clique?

It’s a shame Woody and LBJ couldn’t have taken their excellent collaboration to a better production.

Behind the Bear

Goodbye Christopher Robin

by George Wolf

Even a story born to combat sadness can have a dark side, and Goodbye Christopher Robin explores one in a film that is perfectly acceptable without ever becoming truly memorable.

The story at its heart, of course, is Winnie the Pooh, the fantasy world A.A. Milne created for his young son which became a cultural touchstone that still thrives today.

Milne (Domhnall Gleeson) returned from service in WWI with recurring flashbacks and an ambition to move beyond writing light entertainment and produce a work that would persuade readers to fully appreciate the horror and folly of war.

Retreating from the bustle of London to the solitude of the English countryside with this wife Daphne (Margot Robbie) and son Christopher (Will Tilston in an incredibly cute debut), Milne finds no inspiration until the boy (known to the family as “Billy Moon”) asks his dad to write him a story.

Extravagant wealth soon follows, along with intrusive fame, bringing confusion and heartache to a little boy who doesn’t understand why he has to share his life with the world, or why a father would write about his son instead of for him. Comfort often comes not from his parents, but from the emotional closeness of his relationship with nanny Olive aka “Nou” (Kelly Macdonald).

Director Simon Curtis (Woman in Gold, My Week with Marilyn) wraps it all in a wondrous, often childlike sheen, but juggles too many contrasting themes to find a truly resonate focus. The script, from Frank Cottrell Boyce and Simon Vaughan, offers fly-by attention to war, childhood, celebrity infatuation and those stereotypically British stiff upper lips.

The entire cast is game, the execution workmanlike and the story endearing. But Goodbye Christopher Robin, much like the family it spotlights, too often settles for safety over emotional connection.

 

No One Is to Blame

The Killing of a Sacred Deer

by Hope Madden

What if God exists and he’s an awkward adolescent boy?

That’s not exactly the point of Yorgos Lanthimos’s latest, The Killing of a Sacred Deer, but it’s maybe as close a description as I can muster.

Lanthimos’s work (The Lobster, Dogtooth) does tend to balk at simple summarization, none more so than Sacred Deer. The film offers a look inside the life of a successful surgeon (Colin Farrell), whose opthamologist wife Anna (Nicole Kidman) and their two children (Raffey Cassidy and Sunny Suljic) are, well, perfect.

It’s the kind of perfect you might find in a Stanley Kubrick film—cold, clean, sterile. In fact, from the framing to the violently intrusive score to the thematic suspicion of intimacy, Sacred Deer leans heavily Kubrick.

But Lanthimos brings with him a particular type of absurdity all his own. He hints at it with the memorable opening shot and deepens it with the now-characteristic stilted, oddly detached dialog.

But the filmmaker’s unique tone finds its perfect vehicle in Barry Keoghan (also wonderful this year in Dunkirk). Unsettlingly serene as Martin, the teenage son of a patient killed on the surgeon’s table, he controls the film and its events.

With Martin, Lanthimos is able to mine ideas of God, of the God complex, of the potentially ludicrous notion of cosmic justice.

All the while he sends up social norms, dissecting the concept of the nuclear family and wondering at the lengths we will go to avoid accountability.

Sacred Deer, though certainly absurd, lacks the comedic flourish of 2015’s The Lobster. This film’s comedy is ink black and subversive in a way that’s equally likely to break your heart as draw a chuckle. This is particularly true as Anna and her children begin bargaining for their lives in scenes that are astonishing in their insight.

Nicole Kidman is chilly perfection in a surprisingly unlikeable role. The uneasy chemistry she shares with Farrell helps the film balance its weirdness with moments of authenticity. She and Farrell shared the screen earlier this year in the also engrossing The Beguiled, a fact you may almost forget as they trade in the steamy tension of the first relationship for the frosty, antiseptic nature of this one.

As was true with The Lobster, Farrell comfortably shoulders lead responsibilities in Lanthimos’s weird world. His scenes with Keoghan, at first treated as if some kind of illicit affair, give the film its unsettling power.

Their karmic battle strangely told will be hard to forget.

What We Do on Asgard

Thor: Ragnarok

by Hope Madden

What if the next Avengers movie was a laugh riot? A full-blown comedy—would you be OK with that?

The answer to that question has serious implications for your appreciation of Taika Waititi’s Thor: Ragnarok.

You’re familiar with Thor, his brother, his buddies, his hair. But how well do you know Waititi? Because he’s made a handful of really great movies you should see, chief among them What We Do in the Shadows and Hunt for the Wilderpeople.

Waititi’s films are charming and funny in that particularly New Zealand way, which is to say equal parts droll and silly. So a total goofus has made our latest superhero movie, is what I’m trying to tell you, and you’ll need to really embrace that to appreciate this film, because Thor: Ragnarok makes the Guardians of the Galaxy franchise seem dour and stiff.

There’s a real Thor movie in here somewhere. Thor (Chris Hemsworth and his abs) learns of his older sister Hela (Cate Blanchett—hela good casting!). Sure, Thor’s the God of Thunder, but Hela’s the Goddess of Death, so her return is not so welcome. But daaayumn, Cate Blanchett makes a kick-ass Goth chick.

Indeed, the film is lousy with female badasses. Tessa Thompson (Dear White People, Creed) proves her status by taking all comers, Thor and Hulk among them.

But can you get behind the idea of Hulk and dialog? Because he has dialog in this movie. Like whole conversations. Dude, I don’t know about that.

Loki (Tom Hiddleston) returns, as does Idris Elba, so this is one bona fide handsome movie. Mark Ruffalo makes an appearance in a vintage Duran Duran tee shirt. It’s like Waititi thought to himself, how many of Hope’s crushes can we squeeze into one film?

One more! Jeff Goldblum (don’t judge me) joins as a charming and hysterical world leader. His banter with his second in command (Rachel House—so hilarious in Wilderpeople) is priceless.

Also very funny, Karl Urban (who brings a nice slap of comic timing to every bloated franchise he joins), Waititi himself (playing a creature made of rocks), and one outstanding cameo I won’t spoil.

Thor: Ragnarock lifts self-parody to goofy heights, and maybe that’s OK. There’s no question the film entertains. Does it add much to the canon? Well, let’s be honest, the Thor stand-alones are not the strongest in the Marvel universe.

You will laugh. You’ll want to hug this movie, it’s so adorable.

Unless you’re totally pissed about the whole thing, which is entirely possible.

Those Aren’t Sugar Plums

A Bad Mom’s Christmas

by George Wolf

“Okay, fine, we’ll go caroling, but I’m not wearing that ridiculous costume.”

Man, what a setup. When we see her wearing that ridiculous costume two seconds later it’s really, really…not funny at all, much like the other 103 minutes of A Bad Mom’s Christmas.

The original Bad Moms might have been completely superficial and a champion of equal rights for cliched, underwritten male characters, but at least it managed some chuckles from three talented leading ladies.

And beyond all that, it was a box office smash, so the moms are back to do Christmas this year, mainly against their will.

Amy (Mila Kunis), Kiki (Kristen Bell) and Carla (Kathryn Hahn) are tired of being overworked and under appreciated every Holiday season, so they make an oath to “take Christmas back” and just chill this year.

But they’re barely done giving lap dances to a mall Santa when they all get visits from more easily identifiable cliches, gift-wrapped as their own mothers! What the?

Amy’s mom(Christine Baranski) is the demanding perfectionist, Kiki’s (Cheryl Hines) the stage five clinger and Carla’s (Susan Sarandon) is the party hound. All three are here to make their daughters feel overworked and under appreciated, at least until everybody learns something today.

Writers/directors Jon Lucas and Scott Moore (The Hangover trilogy) return from the first film to surround even more talented ladies with lazy, condescending attempts at comedy and female bonding.

The obvious gags rarely rise above the level of women talking dirty and little kids dropping F-bombs. Sure, that can be funny, but not when the women and kids are the only reasons it’s supposed to be funny.

Like the bedroom of Amy’s teen daughter that bears two-too-many “I love soccer” banners, Lucas and Moore are desperately trying to not only show they can write funny women but also that they are finely tuned to what makes women feel fulfilled as mothers and daughters.

A Bad Mom’s Christmas is contrived and forced at every turn, and by the time a mother/daughter heart to heart disrupts Midnight Mass while the congregation never takes one eyeball off the choir, a gift receipt is in order.