Category Archives: New In Theaters

Reviews of what’s out now

New In Theaters

Missed Opportunity

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Crimson Peak

by Hope Madden

A quick scan of filmmaker Guillermo del Toro’s work emphasizes his particular capacity for creepiness. His success likely lies partly in his visual flair and partly in his patient storytelling, but it’s his own mad genius that pulls these elements together in sometimes utterly brilliant efforts, like Pan’s Labyrinth.

That’s a high water mark he may never reach again, but his latest, Crimson Peak, can’t even see that high, let alone touch it.

Del Toro has pulled together the genuine talents of Jessica Chastain, Tom Hiddleston, and Mia Wasikowska – as well as the questionable competence of Charlie Hunnam – to populate this diabolical love story.

Edith Cushing (Wasikowska) is wooed away from home and childhood beau (Hunnam) by dreamy new suitor Thomas Sharpe (Hiddleston), regardless of his sister’s unpleasantness or her own father’s disdain. But the siblings may have dastardly motives, not to mention some rather vocal skeletons in their closet.

All four actors struggle. Hunnam has little chance with his underwritten sweetheart role, while Hiddleston is wasted as a spineless yet dreamy baronet. There is no chemistry between Wasikowska and anyone, and while Chastain is often fun to watch as a malevolent force, the cast can’t congeal as a group, so much of her bubbling evil is wasted.

Characteristic of a del Toro effort, however, the film looks fantastic. Gorgeous period pieces drip with symbolism and menace, creating an environment ideal for the old fashioned ghost story unspooling.

But where certain monstrous images blended nicely into the drama of Labyrinth, here they look and feel a part of another film entirely. The garish colors of a Dario Argento horror bleed into the somber gothic mystery. Edith’s ghastly, yet utterly modern, visions not only break the bygone feel the film develops, they awkwardly punctuate Peak’s tensely deliberate pace.

Tonal shifts between lurid and subtle only compound a problem with weak writing, and del Toro struggles to develop the twisted love story required to make the murky depths of the villainy believable.

In the end, Crimson Peak is the sad story of great resources but wasted effort.

Verdict-2-5-Stars

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Old Pros at Work

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Bridge of Spies

by George Wolf

It’s October, so if you hear “Steven Spielberg, Tom Hanks, two hour twenty minute historical drama” and think Oscar bait, you’re not alone.

But Bridge of Spies also walks the walk, emerging as a taut, effective and absorbing film, as finely crafted as you would expect from the talents involved.

It’s also a wonderful slice of history, especially for those not familiar with the story of Jim Donovan.

As the Cold War rages in the late 1950s, Donovan (Hanks) is an insurance lawyer with three kids and a wife (Amy Ryan) in a big house in the New York suburbs. When the CIA nabs Soviet spy Rudolf Abel (Mark Rylance), the head of Donovan’s firm (Alan Alda) volunteers him to help the Feds and give Abel just enough of a defense to make the trial seem legit.

Going through the motions doesn’t sit well with Donovan, even as his commitment brings a cost “to family and firm.”

Complications arise when the Russians capture one of ours, and a prisoner exchange seems in the best interest of both parties. That’s not the sort of thing governments want to officially participate in, so Donovan is sent to Berlin to negotiate the deal.

Standing alone, the true events are undoubtedly compelling, but onscreen they unfold like an intentionally old school genre thriller, crafted by veteran artists wearing their considerable skills like a perfectly broken-in pair of shoes.

Spielberg’s sense of pace and framing is casually impeccable, Hanks perfectly embodies Donovan’s inner journey, and Rylance is sure to get Oscar consideration for his scene-stealing perfection.

But there’s more. Composer Thomas Newman (what, not John Williams?) provides a gently evocative score, and Matt Charman’s script gets an assist from none other than the Coen Brothers.

As the tale moves from courtroom motions to clandestine spy games, it’s punctuated by perfectly realized moments that speak to more universal themes. Schoolchildren frightened by the thought of war, a mad dash to make it over the Berlin Wall, or a pledge to be a justice system that doesn’t “toss people in the trash heap”, all linger just long enough to resonate without manipulation.

By the time Donovan heads to the bridge for the prisoner transfer, the only chance of letdown in the film comes from being lulled into complacency by the skill of people who just know what the hell they are doing.

You knew Bridge of Spies would be good. It is.

 

Verdict-4-0-Stars

 

New In Theaters

Peace Out

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Peace Officer

by George Wolf

By the time you’re halfway through Peace Officer, you’ll be ready to nominate William “Dub” Lawrence for Attorney General, Chief of Police or whatever post will put his sensibilities and intelligence to the best possible use.

Lawrence is a former Utah sheriff who founded the local SWAT team that, in a cruelly ironic twist, killed his son-in-law. Since that day, Lawrence admits he has become a man possessed by the search for justice, not only for his family, but for others who have suffered from the militarization of American law enforcement.

It’s a topic that’s extremely polarizing and easily derailed with inflamed rhetoric, but co-directors/co-writers Brad Barber and Scott Christopherson wisely use Lawrence’s calm, measured demeanor as a perfect anchor for their balanced take on a vital issue.

How, and why, did we get the point where tactics and weapons of the military are standard issue for police forces across the country?

The film’s strength lies in its nuance, and in its refusal to provide snap judgements. Rather than looking to vilify police officers, the goal here is to understand how the system itself has become untenable, all but guaranteeing continued tragedies.

It’s not a fun conversation, but it’s one that’s long overdue.

Peace Officer may speak softly, but it’s hard to imagine an American film that is more urgent.

Verdict-4-0-Stars

 

New In Theaters

My Back Pages

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Drunk Stoned Brilliant Dead: The Story of the National Lampoon

by George Wolf

If you only know National Lampoon as the two words that came before “Animal House” or “Vacation,” director Douglas Tirola has many stories for you.

His documentary Drunk Stoned Brilliant Dead: The Story of the National Lampoon, opens your eyes to the star-studded journey that turned a college parody magazine into what Judd Apatow calls “the Muhammed Ali of modern comedy.”

It all began at Harvard in the late 1960s, when students Doug Kenney, Henry Beard and Robert Hoffman were the editors behind a parody of Mademoiselle magazine. More successful parody issues followed, until Kenney and Beard got the backing they needed to make their Harvard Lampoon a national publication.

By the early 70s, National Lampoon was an important counterculture voice, remembered by John Goodman as being “sharp, crystal clear, and above all, funny,” while Kevin Bacon recalls seeking out the magazine for one reason: “breasts.”

Tirola, who also co-wrote the film with acclaimed writer Mark Monroe (The Cove, Sound City), has a good sense of how to use the goldmine of archival footage he’s assembled. As the National Lampoon brand expands to stage shows, radio hours, albums, a production company and movies, there are priceless never-before-seen clips of John Belushi, Bill Murray, Chevy Chase, Gilda Radner, Harold Ramis, Christopher Guest and more, all years before stardom.

But beyond a greatest hits collage, Tirola’s main focus is the print version, and the behind-the scenes frenzy that led to touching a nerve in an era where “people defined themselves by the magazines they read.” Valuable first-person interviews are included, as well as numerous scrapbook-style images and animation showing how the spirit of National Lampoon influenced popular culture from attitude to advertising.

More movie clips would bring more hilarity, but DSBD is still plenty funny while being infinitely informative. Brisk, energetic, nostalgic and, yes, tragic, it’s a fitting ode to a groundbreaking bunch of misfits.

Verdict-3-5-Stars

 

 

 

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A Life Extraordinary

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He Named Me Malala

by Christie Robb

Malala Yousafzai was a remarkable person years before becoming the youngest Nobel Peace Prize recipient at the age of 17. What is impressive about her is not her having survived a head shot by a Taliban gunman in 2012; it’s her courage and strength in speaking out in nonviolent protest. It is her continuing support of children’s right to an education despite the threats to her life and the lives of her family members.

Oscar-winning director Davis Guggenheim (An Inconvenient Truth) presents Malala’s story in his new documentary, He Named Me Malala.

As you might guess, the central relationship explored in the film is between Malala and the man who named her, her father Ziauddin. He named his baby girl after Malalai—a female folk hero that roused dispirited Afghani fighters to war against the British and was shot and killed in the attempt—quite something to live up to.

Ziauddin himself seems something to live up to. A rebel schoolteacher who refused to be silent under increasing Taliban restrictions, he fostered a love of learning in Malala and taught her to raise her own voice against oppression when the voices of so many women and girls were strangled.

The tension of Guggenheim’s film builds slowly throughout, even as the storyline bounces around from stories of the Yousafzai family, to the Taliban’s rise to power in the Swat valley, to Malala becoming an anonymous schoolgirl blogger for the BBC at age 11, to her present day activism, to Malala’s decision to break her anonymity and appear on camera in Pakistan speaking in support of girls’ education. Finally, the tension peaks with footage of the bus on which Malala and two of her friends were shot, not by a gunman, as her father says, but by an “ideology.”

However, the movie is not simply an encomium to an internationally famous humanitarian. Guggenheim shows Malala not just as the extraordinary public figure that she has become, but also as a teenage girl who tussles with her younger brothers, stresses about grades, and crushes on sports figures. Guggenheim also makes some effort to show the mixed response Malala gets in Pakistan, where some people think she’s just a mouthpiece for her father or an agent of Western Imperialism.

And he explores the question of whether Ziauddin, this man who slapped this famous name on Malala, really forced her into this public life without her buy-in. Twice Guggenheim includes Ziauddin’s worry that, upon waking from her coma, Malala would accuse him, “I was a child, you should have stopped me.” And Malala raises her voice to say that she’s made her own choices. That she, “…chose this life and now… must continue it.”

It’s an amazing life and one worth watching.

Verdict-4-0-Stars

New In Theaters

Frankenfilm

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The Inhabitants

by Christie Robb

The Inhabitants is a hodgepodge of horror elements cut and sewn awkwardly together to create a film that isn’t particularly scary and lacks thematic consistency.

But what a good location! The movie was filmed inside the Noyes-Parris House, formerly owned by the father of one of the girls who kicked off the Salem Witchcraft Trials. As such, you come in expecting a certain degree of paranoid atmosphere and the use of witchy tropes.

The story follows a young couple that decides to buy and renovate an old bed and breakfast. The screenwriters make no real attempt to explain how the couple can possibly afford the place or what exactly their goals for it are, but it’s hard to quibble with that issue when the acting quality and opening credit sequence has you squinching up in your seat—not from fear or anticipation, but from a justified suspicion that you’ve accidentally stumbled into a horror movie porn parody, given the minutes of static-y black and white footage featuring folks disrobing, bathing, and humping.

But, the movie then switches tone.

We are introduced to the main leads, who do somewhat exude the sense of ennui of two porn stars well into a long day of shooting, but after the odd soft-core porn sequence, the film covers up the skin and lurches along for another 80 minutes that drag like an ill-sewn leg on a reanimated cadaver.

The wife, Jessica, finds out that the original owner of the house was a midwife, tried and executed for witchcraft. Set in a historical location with ties to the famous trials, midwife/witch in the mix, even with the acting…I’m on board.

But, instead of focusing on this theme, the film tries to incite scares by randomly throwing elements at you that just don’t work or really seem to belong in the same movie, like the bank of AV equipment that allows the husband to spy on Jessica’s increasingly weird antics (but that undermines the likability of the husband), or the smokers in the woods that are intended to seem menacing (but just seem like furtive high school kids with a mild addiction to nicotine), or the dog that appears abruptly and seems attuned to the possible presences in the house (but then disappears unceremoniously), or the ghost Jessica sees…in the washing machine (washing machines aren’t scary).

Despite having access to the famous house, the setting and history of Salem is rather absent save for a brief trip to the Ye Olde Witch Museum. This trip, however, is nicely balanced by the couple’s trip into town…to grocery shop at Whole Foods.

This broke the sense of isolation and vulnerability that the directors were trying to achieve. My suspension of disbelief was shattered as soon as I saw the logo on that paper bag. Do not send your characters to Whole Foods unless you want us to be biting our fingernails worrying about their food budget.

Not bad enough to drunk-watch with friends, I suggest passing on this one. It’s not worth gathering the pitchforks and torches.

Verdict-1-5-Stars

https://www.youtube.com/watch?v=4ULDfLrnhjw

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Mars Needs Disco

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The Martian

by George Wolf

The Martian is about brains over brawn, about thoughtful solutions trumping impulse. It’s a veritable mash note to science, it looks great and it has a veteran cast that’s actually too star- studded.

It has all the earmarks of a blockbuster, but still can’t shake the feeling of missed opportunity.

Matt Damon stars as astronaut Mark Watney, part of a NASA research team stationed at an outpost on Mars. In a quick setup very reminiscent of Gravity, he is struck by debris during a nasty storm and is lost in the darkness. The team believes Watney to surely be dead, and leaves for home without him.

Once Watney comes to and tends to his injuries, he’s got some issues to ponder, such as how to grow food on a desolate planet, let NASA know he’s alive, and learn to love all the 70s disco playlists that his mission commander (Jessica Chastain) left behind. “Don’t Leave Me This Way” followed by “I Will Survive”? Got it.

Legendary director Ridley Scott and writer Drew Goddard (The Cabin in the Woods, World War Z) make an impressive duo on paper, but have trouble finding a consistent tone that fits.

Watney starts a video blog, a convenient device for detailed explanations on how he’s going to “science the shit” out of his predicament, with plenty of time for upbeat witticisms and disco talk. “Science the shit” is a nice line, but the script also has plenty of forced moments such as “that could work….as long as nothing goes wrong.”

Cut to something going wrong.

Damon is endlessly charming, and the single biggest element keeping the entire film from spiraling out of control. Chastain seems both distracted and a distraction, as you realize this isn’t the first time she’s left Damon stranded on a distant planet (Interstellar).

Jeff Daniels sleep walks through his scenes as the NASA chief, Chiwetel Ejiofor’s presence is wasted and Kristin Wiig shows up in a role that is basically needless.

With a running time pushing two and a half hours, there’s ample chance to cut deeper than the superficial nature the film embraces. By the time Bowie’s “Starman” starts cranking, you get the feeling it wants to tap into that Guardians of the Galaxy soundtrack vibe on the way to making some statement on humanity.

Though The Martian is certainly capable filmmaking, it whiffs on both counts.

Verdict-2-5-Stars

 

 

 

New In Theaters

This I Could Not Do

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Partisan

by Hope Madden

Ariel Kleiman casts a spell with his feature film debut Partisan, an enigmatic effort concerning a tribe of juvenile assassins and their surrogate – and sometimes biological – father, Gregori.

A captivating Vincent Cassel stars as the mentor, guru, and unyielding leader of the group. The film opens on Cassel, ragged and alone, building from hand and refuse what will become a sprawling, hidden fortress. Here he will house and educate a dozen or more children and their world-wearied mothers.

This is a cult, of sorts, and Gregori’s methods are deceptively paternal, but as his eldest and first protégé approaches adolescence, the limits of Gregori’s control begin to appear.

Kleiman’s measured storytelling offers as many questions as answers, enthralling with this alien yet believable scenario. He creates an atmosphere of near-wholesomeness and dubious nurturing that chills you.

Cassel’s performance is both restrained and bursting. Though the French actor has portrayed scads of villains in his impressive career, none are as thoughtfully drawn as Gregori. Cassel plumbs the character for self-delusion, tenacity, faux tenderness, and icy psychosis all at once. Gregori is exactly the charismatic figure who could command from nothing just such a bizarre family.

His chemistry with the young cast is both frightening and lovely – particularly his fragile onscreen bond with Jeremy Chabriel as prepubescent killer Alexander. Chabriel shoulders much of the film’s emotional heft, and he’s able to communicate the especially complicated coming of age facing this character with the skill of an actor twice his age.

Chabriel’s scenes with his mother and baby brother are layered, as the boy grapples with his own youthful – though not exactly innocent – view of the world, family, patriarchy, and devotion.

The unanswered questions, though often provocative, sometimes make the film feel unfinished. Still, Kleiman is a confident storyteller, and even with some missing pieces, he’s composed a taut, chilling, and unique vision of a particularly fraught journey toward adulthood.

Verdict-4-0-Stars

New In Theaters

Not the Same Old Grind

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Mississippi Grind

by George Wolf

Two gamblers – one a smooth talking charmer and the other a desperate loser – team up for a high stakes road trip to New Orleans, taking all the action they can along the way.

It may sound like a cliche waiting to happen, but if you think you know where Mississippi Grind is heading, think again. Filmmakers Anna Boden and Ryan Fleck (Half Nelson, Sugar) don’t do same old same old. The writing/directing team is more interested in slowly immersing you in a new environment, letting simple truths drip from the intimate details of their characters.

Gerry (Ben Mendelsohn) has a growing list of gambling debts and a daughter he never sees, but things might be looking up. The high-rolling, confident Curtis (Ryan Reynolds) sits down at Gerry’s card game, buys him a drink (“not the cheap stuff, either”) and suddenly Gerry thinks he’s found a lucky charm.

Curtis agrees to Gerry’s idea for the road trip, but questions linger. Sure, Curtis can work a room with the best of them, but is it all just to find his next hapless mark? The film wouldn’t work without two sublime performances to drive it, and there’s no question it works.

Reynolds has never been better, keeping just enough of his usual smirking smart ass persona to give Curtis an extra layer that makes him hard to pin down. Mendelsohn is less of a surprise, as he might be the most consistently great actor that nobody knows. He keeps Gerry a constantly evolving work, equal parts thieving liar and gold-hearted schlub who just needs a break.

Sienna Miller and Analeigh Tipton both make effective use of their limited screen time as working girls who get a visit from the southbound duo. They not only give us added glimpses into the souls of Gerry and Curtis, but they’re also real characters unto themselves.

Boden and Fleck introduce each new locale with postcard perfect shots free of almost all life, another reminder our interest is Gerry and Curtis and where they are going, both literally and figuratively.

With enthralling characters, mesmerizing performances and filmmakers confident enough to stay their own course, it’s a hugely satisfying trip.

Verdict-4-0-Stars

 

 

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Effective Blunt Instrument

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Sicario

by Hope Madden

How versatile is Emily Blunt?

Who’d have thought, back when she caught our attention in Devil Wears Prada or The Young Victoria that she’d step so easily into the role of badass? But between her shotgun-wielding protector in Looper and her Sigourney Weaver-esque role in Edge of Tomorrow, she’s proven as compelling a figure in action as she is in comedy and drama. She proves her mettle again in Denis Villeneuve’s take on the drug war, Sicario.

Blunt plays Kate Macer, a determined cop working hostage crises who’s promoted to a vaguely defined drug taskforce. She will find that her desire to make an impact and her hunger for justice do not always gel. It’s a flawed character who struggles against her naiveté while battling to keep her idealism intact in an operation that vividly encapsulates the murky, complex, and unwholesome battle at our Southern border.

As wonderful as Blunt is, she’s matched step for step by Josh Brolin, as a flippant senior officer who finds humor where most of us would not, and a breathtaking Benicio Del Toro.

Del Toro is at his best as a haunted, mysterious consultant on the case, and his relationship with Blunt’s character is equally menacing and tender.

Villeneuve’s films are dark and challenging, which is certainly the case with Sicario – his most satisfying film to date.

By focusing as intimately as he does on three or four characters, the global picture he paints is anchored, becoming more relevant and comprehensible. Roger Deakins’s weirdly beautiful cinematography mimics the rising panic of Kate’s attempt to soak in every piece of information in her new surroundings, generating an awestruck and terrified depiction of the escalating action.

Villeneuve walks a line between thoughtful drama and all out action film, never abandoning character while still creating arresting, unforgettable action sequences. The opening scene will stay with you, while two different visits to the border – one above ground, one below – are pure cinematic genius.

A tourism advertisement it is not, but Sicario offers an insightful, thrilling glimpse into a possibly unsolvable riddle.

Verdict-4-0-Stars