Glory Days

Landis: Just Watch me

by Hope Madden

There’s nothing like an underdog story to help you forget every miserable thing that’s happened and just remember that sometimes, things go right for good kids.

If that’s what you need—and honestly, who doesn’t right now?—filmmaker Eric Cochran would like you to meet Landis Sims.

Born with a condition that left him without hands or feet, Landis Sims decided early that he was a baseball player. And he is.

Cochran’s a veteran behind the camera and it shows. He balances baseball action with home movies, interview material with fly-on-the-wall family footage to deliver something that seems intimate without feeling like an invasion of privacy.

Never showy or sensational, the film settles into an earnest, understated groove that lets the story tell itself. We’re with young Landis as his prosthetist helps him figure out how to hold a bat. We’re there from tee ball through little league to high school baseball.

Nobody has to tell you this kid works hard. Nobody has to take you aside to point out that he’s actually quite a good ball player. Cochran lets his images speak for themselves.

The footage is often remarkable, and the way Cochran uses his camera to create echoes of Landis over the years bridges time. Following him for 8 years gives the documentary the intimacy of Richard Linklater’s 2014 masterpiece Boyhood.

Mercifully missing those maudlin moments that so often mark “inspiring true story” docs, Just Watch Me sidesteps wallowing and trauma because it doesn’t suit the subject. It doesn’t seem part of Sims’s makeup. This is not to say Cochran shies away from the reality of this particular life, just that there’s no manufactured sentimentality.

There’s nothing forced or false about the documentary. It sometimes feels as if Just Watch Me repeats information in an attempt to stretch its running time to feature-length, but it’s not hard to justify a few extra minutes with this extraordinary kid.

Screening Room: Thor: Love & Thunder, The Sea Beast, Apples, Dreaming Walls & More

Cloudy with a Chance of Beefcake

Thor: Love and Thunder

by Hope Madden

Filmmaker Taika Waititi hit a gleefully discordant note with his first venture into the Marvel Cinematic Universe. His Thor: Ragnarok was silly. It held no particular reverence for superheroes, even its own.

Who knew it would be such a welcome change of pace, and so very suited to Chris Hemsworth’s comic talent? Of course, Thor still had Loki (Tom Hiddleston) to play with, plus the great Cate Blanchette as a goth goddess Hela. Hell yes.

Thor: Love and Thunder does not benefit from the previous installment’s villainous one-two punch. But Christian Bale is no slouch.

Bale plays Gorr the God Butcher. The name alone gives you a sense of why Thor is in trouble. The weird thing is, though Bale’s performance intrigues, it’s as if he’s in an entirely different movie.

In Thor’s corner of this fight is the formidable Valkyrie (Tessa Thompson), as well as another familiar face. Natalie Portman returns as Thor’s ex, Dr. Jane Foster, who now commands the Hammer of the Gods herself.

But after fighting his own flesh and blood to save his entire people and culture in the last episode, crushing on his ex while protecting his own skin feels pretty superficial. It’s a slight premise with weak stakes.

Even Waititi seems to think so. Thor and company visit the secret assembly of the gods to ask for help in defeating this new menace. The way Waititi (who co-writes Jennifer Kaytin Robinson) stages the whole bacchanal makes it hard to argue Gorr the God Butcher’s logic.

An interesting act of subversion or wishy-washy storytelling? Hard to say. Waititi’s focus on the film’s aesthetic is clearer, though.

Thor: Love and Thunder evokes a Saturday morning kids’ show, complete with hokey costumes and props. Here Waititi revels in the superficial, the kitschy and commercial. He’s a filmmaker who balances cynicism and goofiness as few can. He hits a couple of clever gags with a jealous Stormbreaker, too.

So, it’s fun. But it’s by no means the inspired fun of Ragnarok. None of the jokes land as well, and the action never approaches the same level of swagger and panache. And it just keeps getting harder to root against Marvel’s villains.

Forbidden Fruit

Apples

by George Wolf

Apples opens with the thump-thump-thump of Aris (Aris Servetalis) slowly and deliberately hitting his head against a wall. We won’t know why for about 90 minutes, as director/co-writer Christos Nikou reveals the layers of his debut feature as carefully as Aris peels his favorite fruit.

Later, on a city bus, a confused Aris becomes the latest victim of a worldwide pandemic that causes sudden amnesia. When his condition does not improve and no relatives can be located, Aris is enrolled as “14843” in a recovery program designed to help “unclaimed” patients build entirely new identities.

Armed with a Polaroid camera and a list of assignments from his doctors, Aris must document the completion of each directive with photos to be displayed on separate pages of an album.

Even if you didn’t know Nikou got his start as second unit director for Yorgos Lanthimos on Dogtooth, you would instantly notice the similarities in detached mood and deliberate pacing. And while it may be unfair to expect anyone to rival Lanthimos’s skill with deadpan irony, Nikou favors a dour, awkward brand of humor (Aris dances the twist!), and a more clear-eyed and gentle resolution to an opaque turn of events.

Nikou’s beautifully realized world resembles the present day, but it is consistently quiet, slow paced and free of digital tech (hence the Polaroid). The film’s comment on disassociation is a compelling surface layer, but Apples has a more haunting goal in mind.

How much of who we are do we owe to our memories? And how far might we be willing to go to put painful memories out of reach? Nikou’s approach to these questions is finely textured, displaying a blend of craftsmanship and vision that bears attention, both now and for whatever he takes a bite of next.

Ghosts in the Machinery

Dreaming Walls: Inside the Chelsea Hotel

by George Wolf

If you don’t really know anything about Manhattan’s Chelsea Hotel, don’t come to Dreaming Walls expecting a thorough biography.

But even if you’ve heard only a bit about the legendary building that has known “all the immortals of the 20th century,” check in to this enigmatic documentary for a dreamlike trip through time and headspace.

Opening in 1884, the Chelsea was designated a New York City landmark in 1966, and placed on the National Register of Historic Places in ’77. Along the way, its guestbook has seen names such as Janis, Marilyn, Dali, Cohen, Warhol, Ginsberg, and two Dylans (Bob, Thomas). Arthur C. Clarke wrote 2001 while staying at the Chelsea. Nancy Spungeon was stabbed to death there.

To put it mildly, the place has a history. But co-directors /co-writers Maya Duverdier and Amélie van Elmbt (along with executive producer Martin Scorsese) root their story in the present, and in the lives of current Chelsea tenants hanging on to ghosts of old New York.

Duverdier and van Elmbt artfully project some of those famous ghosts onto the Chelsea walls themselves. Others come to life through the deft weaving of old and new footage, creating touching moments such as tenant Merle Lister Levine effectively dancing with her younger self via choreography she first performed at the Chelsea decades ago.

Those were the halcyon days of a glorious bohemianism, days remembered by Merle and other current tenants while jackhammers and lawsuits bring the march of time and money to their apartment doors.

The Chelsea has been undergoing renovations for almost a decade. And the plan for a new, lavish and extremely expensive hotel has been prolonged by the legal maneuverings of longtime tenants fighting to stay.

As these residents compare the construction to “the slow motion rape of the building,” and “a grand old tree that’s been chopped down,” a compelling and bittersweet narrative emerges.

These rich personalities push aside the caution tape and stacks of knick knacks, inviting us in to honor the legacy of a place they call home. And, as the best of these stories often do, the intimacy actually allows for a more universal resonance.

Dreaming Walls is a story of art and commerce and bricks and mortar, of glory days usurped by time, and some wonderful, weary souls who find comfort in ghost stories.

House Call

The Summoned

by Tori Hanes

A tale as old as time: boy meets girl, girl convinces boy to accompany her on a couple’s retreat, couples retreat turns satanic. If we see this setup anymore, we’ll have to consider the trope its own genre.

Director Mark Meir’s The Summoned follows average mechanic and hopeful musician Elijiah (J. Quinton Johnson), as he accompanies his pop star girlfriend Joplyn (Emma Fitzpatrick) on a secluded (and exclusive) self-help retreat. Joined by a millionaire author (Salvador Chacon) and prissy movie star (Angela Gulner), the vacation quickly goes from life-changing to life-threatening.

Unfortunately, when drawing up appropriate criticisms or praises for The Summoned, the metaphorical canvas remains blank. That is to say: this film drives at a safe speed and steadily down the dead-center of the road. Never veering into terrible road bumps like uneven performances, loose script, or uninspired narrative. This also means it never hits the high speeds of stellar performances, transformative writing, or intriguing ideas. 

The Summoned is competently made in almost every aspect. It looks pleasant, the cast is strong and is obvious in their chemistry, and the direction is solid. But you keep waiting for the twist of the knife, the moment where this film becomes a breathing piece. Unfortunately, that final push never comes, and the result is ultimately adept but magicless.

Perhaps the most enjoyable element of this film was the willingness to lean into camp. The performances offered by Gulner and Frederick Stuart as the flamboyant Dr. Frost gave even the most grisly moments appropriate levity. This levity is the ultimate grace the film needs to distance itself from gloom-obsessed horrors of the past (think Insidious, The Conjuring, etc.). It hits more closely to Jordan Peele’s Get Out, often pulling surprisingly snappy dialogue. 

If you’re looking for an easy fright, check this film out. You won’t be disappointed. If you’re looking for a thought-provoking scare, you may wish you hadn’t been summoned.