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Fa La La Land

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The High Note

by George Wolf

Since rising to fame on Black-ish, Tracee Ellis Ross has apparently been biding her time, patiently waiting for the right vehicle to showcase her talents as a singer. It isn’t hard to understand the apprehension.

Oh, look, another TV star trying to sing. And this one just wants to ride her mother’s (Diana, FYI) iconic coattails!

Ross chooses wisely with the endearing The High Note, absolutely killing it as Grace Davis, a modern brand of pop diva.

Davis still basks in the glow of worldwide fame, but it’s been a minute since she scored a big hit. Grace’s longtime manager Jack (Ice Cube, with more proof of his maturation as an actor) wants her to ink a long-term residency in Vegas, but Grace isn’t sure she’s ready to be pushed onto the “greatest hits” circuit. And there’s a small but potentially mighty voice in Grace’s corner.

It belongs to her personal assistant Maggie (Dakota Johnson, flashing a winning mix of naïveté and ambition). She’s been lobbying for new Grace Davis music, which would carry some weight if everyone only knew how great a producer Maggie could be if they’d just give her the chance!

If this sounds like something for the Hallmark Channel, did I mention Maggie has stumbled across David (the impressive Kelvin Harrison, Jr., with his own vocal chops), a talented musician who could use an L.A. music producer and maybe even a girlfriend?

Sure, you can guess where most (but not all) of this goes, and in other hands it might have been a tone deaf stiff. But director Nisha Ganatra (the underseen gem Late Night) runs Flora Greeson’s debut screenplay through the filter of an endlessly charming cast to craft an extended mix of finger-snapping smiles.

Look beneath those layers of what may feel like fluff, and you’ll even find a sometimes awkward but still refreshing look at two women gracefully navigating the path to controlling their own destinies. Nice.

Don’t discount those finger snaps, either. In a music business movie the music should mean business, and the tunes in The High Note sound like something a producer might actually get excited about, especially when Ross lets it rip.

She makes Grace a determined diva that’s spoiled but still worth rooting for, infusing her big numbers with the expressive vocal power of an actor and a character who are both seizing their moment.

The first single from the soundtrack, Ross’s “Love Myself,” is already looking like a hit. The High Note sounds like one, too.

Godspeed

Godspeed

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Her son is on the other side of the country. So is his girlfriend. You can be supportive from 2000 miles away for only so long, and this mother has hit her breaking point.

How far can a mother be driven?

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I Shouldn’t Go Out – Week of May 25

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Drive-in sensation and throwback SciFi fun comes home this week, as well as a handful of other mainly decent choices.

Click the film title to link to the full review.

The Vast of Night

Once Were Brothers: Robbie Robertson and The Band

The Invisible Man (DVD)

Endings, Beginnings (DVD)

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Swan Song

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The Painter and the Thief

by Cat McAlpine

Barbora Kysilkova is a hyper-realistic painter known for her large, dark pieces. But when two of her paintings are stolen from a gallery in the middle of the day, she begins an unexpected journey to reclaim the most important piece in her collection. Boldly, she asks one of thieves if she can paint him, and he nervously agrees. Though he swears he was too high to remember what happened to the paintings, Barbora cannot stop painting Karl Bertil-Nordland.

The Painter carefully teases out The Thief, but he is watching her right back. What follows is a tender exploration of the things that make us feel broken and how we absorb them into our identities.

The narrative weaving of The Painter and The Thief is what makes it a truly great documentary. Director Benjamin Ree shows you the story through two sets of eyes, both staring into the other. He shapes a beautiful give and take that relates the events based on how they were experienced rather than exactly how they happened.

In exploring the way Barbora and Karl see each other, Ree also explores how we grapple with our many faces, comparing the way we present ourselves and the way we are seen by others.

When Karl sees Barbora’s first painting of him, he is utterly transfixed by the portrait. He cannot take his eyes off of it as he stands and begins to loudly weep.

Although The Painter and The Thief takes a winding path into an incredible and unexpected friendship, it never forgets that it began as a mystery.

This documentary is so intriguing and so honest, you’ll be transfixed until the incredibly satisfying and almost unbelievable end.

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Supa Fly

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Supa Modo

by George Wolf

At the risk of limb outing, I’m guessing a little film that might restore your faith in human decency would not be unwelcome right now.

Supa Modo may center on a young girl with a terminal illness, but it will warm your heart in the sweetest way, spinning its tale of escapist fantasy, cold reality and the simple joy of the movies.

Nine year-old Jo (Stycie Waweru, wonderful) spends most of her days under the care of a Kenyan hospital, dreaming of flying like her favorite film superheroes. But after a distressing visit with the medical staff, Jo’s mother Kathryn (Marrianne Nungo) decides her dying child should spend her remaining days in the comfort of home.

Jo’s sister Mwix (Nyawara Ndambia) encourages Jo’s superhero fantasies, and her neighbors unite to create situations where Jo can flash super powers and right wrongs in the village.

It’s a lovely “Make a Wish” scenario that is not uncommon, but director Likarion Wainaina and a team of writers deepen the humanity through simple contrast.

Kathryn does not support the indulgence of Jo’s imagination, clashing with Mwix and the villagers over what is best for her child. This push and pull keeps the film grounded when overt sentimentality offers a road more easily traveled.

And, naturally, good conflict makes a more satisfying resolution. Wainaina plays his hand skillfully, turning what could have been a lazy and cliched final shot into a moment full of the happiest tears.

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All In

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Lucky Grandma

by Hope Madden

It’s hard to watch Lucky Grandma without giving at least a passing thought to Lulu Wang’s 2019 gem The Farewell. This story could not be more different, honestly, but at the heart of both movies is the undeniable force of a nai nai.

In writer/director Sasie Sealy’s tale, Tsai Chin portrays Nai Nai Wong as a dead-eyed hoot. Cigarette dangling, disgusted expression, Nai Nai doesn’t play. Her dismissive stare is priceless. Her confrontational giggle even better.

One routine trip to see her fortune teller/doctor/friend (Yan Xi) convinces her that her luck is changing. She boards a bus, hits a casino and lets it roll.

But luck is not always what you hoped for and the next thing Nai Nai knows, some homely gangsters are after her.

What makes this film the savvy, funny adventure it is results from Sealy’s manipulation of the familiar. The basic story follows many an Underdog Runs Afoul of the Mob stories (Hard 8, Jackie Brown, Millions, True Romance, etc.)

The difference here, obviously, is the underdog.

Like the movie on the whole, the elderly and beloved old grandmother at the center of this mess is simultaneously familiar and alien. Her aches, pains, poverty and the clear patterns of her behaviors suggest something authentic and recognizable. She’s just not a movie grandma—not like any in the movies we’re used to. Her will is as strong as steel, whether her body keeps up or not.

Sealy’s careful not to mock Nai Nai Wong (a good thing, as she would clearly kick a person’s ass). But Chin makes certain this character is not only formidable, but hilarious.

She’s aided by her odd couple sidekick Big Pong (Hsiao-Yuan Ha), a gentle giant of a bodyguard hired in the savviest, old-ladiest of ways. (You know who can spot a bargain? Grandma can.)

Michael Tow also lends a fascinating, unseemly quality to his scenes as creepy gangster henchman Little Handsome.

The emotional grounding for the film never feels forced, which allows the Lucky Grandma to run its course without the predictable sentimentality that crushes most “look how funny this old person is” films. It’s there—the weighty pull of family over self-reliance, of dependence over loneliness—but, like everything else in the film, it respects the character Chin has so meticulously developed.

https://www.youtube.com/watch?v=7XRn6VswMro

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Greece Is the Word

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The Trip to Greece

by George Wolf

“Exhausting? Me? You should meet you!”

Yes, the boys are at it for the fourth time on the big screen, enjoying exotic locales, savoring sumptuous cuisine, and critiquing the finer points of each other’s celebrity impressions.

Since taking The Trip around England ten years ago, Steve Coogan and Rob Brydon have also toured Italy (2014) and Spain (2017), reviewing restaurants and juggling their slightly fictionalized lives while director Michael Winterbottom documents it all.

This time out, they’ve also adopted more of an interest in history. They journey from Troy to Ithaca, following in the footsteps of the Odysseus, checking the tour book when they aren’t quizzing each other on historical timelines or Bee Gees tunes (Brydon’s bit with “Stayin Alive” is a scream).

The sarcasm is thick and the barbs sharp per usual, but while the overall hilarity level may be down a notch, this film boasts the most impressive vistas and enticing recipes of the entire series. Sure, it might be the quarantine talking, but less than an hour in I was ready to call either a travel agent or a Greek restaurant. Maybe both.

And in what might be a nod to the end of the franchise, the whiff of mortality pierces the air. Steve calls home often for updates on the health of his dad, and the levity of the “at our age” references carries an added layer of wistful resignation. You get the feeling these guys are finally giving up chasing youthful ghosts and embracing the time they have now.

These trips have always been about appreciating old friends, great food and often uproarious conversation. But while this isn’t the franchise high point, there’s a poignancy here in Greece, underneath Aristotle’s ashes and all the painful falsetto harmonies, that would make it the most satisfying finale.

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Owing Largely to Sod’s Law

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Villain

by Rachel Willis

With a tense opening scene, Villain starts off strong. Unfortunately, it’s downhill from there.

When Eddie Frank (Craig Fairbrass) is released from prison after a long stay, he is determined to live life on the straight and narrow. It’s too bad “life won’t let” him. When Eddie discovers his brother, Sean, has run afoul of some of London’s most dangerous men, the brothers are left with few options.

There isn’t anything new in Villain, and “generic” is the word it brings to mind often. These are characters that you’ve seen before in situations you’ve seen before in a movie you’ve seen before. Writers Greg Hall and George Russo (who also portrays Sean) expect your preconceived notions about films like this to carry you through the movie. It doesn’t work.

That’s not to say there aren’t things to like about director Philip Barantini first feature length film. Barantini certainly knows how to create tension, and there are a few scenes that are difficult to watch.

The relationship between Eddie and Sean is winning because the chemistry between Fairbrass and Russo is evident. They play off each other like real brothers. Their bond, their fights, and their love for each other rings true.  

Other characters don’t fare as well. When Franks tries to reunite with his daughter, Chloe (Izuka Hoyle), there are many head-scratching moments over her reactions. Her initial resentment of him too quickly gives way to feelings he hasn’t earned. Sean’s girlfriend, Rickie, could just as easily be a table from which he snorts coke. That’s not to say the actors aren’t doing their best, they’re just not blessed with particularly good material.

The tone of the film is all over the place, creating an overall messy feel. The family drama between the Franks and Chloe borders on the melodramatic, and the montage of the brothers remodeling their pub is odd and out-of-place. There’s a lot going on in the film, but there isn’t enough time devoted to each piece of the puzzle.

If you dig British thug dramas, there’s enough that works to make this enjoyable. But if you’re looking for a fresh take on the genre, you won’t find it here.

https://www.youtube.com/watch?v=0HgmrKkAehI

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Fight Song

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Military Wives

by Rachel Willis

When the men and women living on a military base in England ship off on their latest tour, the wives left at home need to find a way to pass the time until the tour of duty is completed.

Enter Kate (Kristin Scott Thomas). Struggling with her own recent tragedy, Kate decides to take on a bigger role in the choir activities that are primarily organized by Lisa (Sharon Horgan).

As a colonel’s wife, Kate’s participation is unusual, but it’s not important for us to understand these intricacies of life on the base. What writers Rachel Tunnard and Roselyn Flynn are interested in is the conflict between uptight Kate and laid-back Lisa.

The movie proceeds as you would expect. Though inspired by real events, director Peter Cattaneo doesn’t inject any originality into the formulaic script. I couldn’t help but think of A League of Their Own while watching the events of Military Wives unfold. It’s almost a beat for beat remake with choir substituted for baseball. However, where A League of Their Own managed to subvert expectations and round out its cast, Military Wives can’t compete.

It’s hard to keep track of everyone in the sizable cast. Not every character is given depth, most are one-dimensional. The story, however, isn’t concerned with fleshing out these women—they serve to add depth to the conflicts faced by the main characters and to enhance the setting. We see these women preparing to send their spouses off to war, little moments of goodbyes, of children and mothers trying to connect to their loved ones overseas, of women trying to pass the time until they’re reunited.

Still, it seems Kristen Scott Thomas will always be remarkable no matter how little she’s given to work with. The few emotional moments the film manages to mine are delivered through Thomas’s strong performance. Horgan doesn’t quite match up to Thomas, but Lisa is also the less interesting character.

Formulas are often reused because they work, and if you’re looking for a feel-good film you won’t go wrong here. However, this is the kind of forgettable film that will fly under most people’s radar.   

Hope Madden and George Wolf … get it?