Listening for Banjos

When our son Riley was young, sometimes – well, often – my husband George and I were those parents who had no idea what was going on.

We never quite figured out how other parents always knew about picture day, field trips, permission slips and other school-related whatnot. I’d have found those in-the-know parents irritating if they weren’t so helpful.

Usually, we’d be made aware of some impending deadline or event when somebody else’s mom brought it up at a baseball game. Such was the case with 4th-grade camp.

It was little second baseman Joe Trapp’s mom who asked, “So, is Riley excited about camp?”

Ick. What?

“Camp. It’s coming up. Don’t you have your paperwork filled out?”

I believe my disgusted face said more than just, No, I haven’t seen any paperwork.

“Oh, it’s so fun. He’ll love it.”

I couldn’t imagine why that mattered.

As an unwritten, shameful rule, George and I never let Riley do anything that kept him away from home for more than a single night. It wasn’t an overprotective instinct, really. We were just kind of sad when he wasn’t around. Life beams brighter when he’s on hand.

My oldest sister had harassed me for years to let Riley stay with her for a few days each summer. Her house is six whole hours from mine.

Screw that!

We were to relent in our smothering territoriality for 4th-grade camp, though. It was a mandatory excursion.

Still, there was a hiccup. Because of our situational ignorance, we’d let Riley audition for a play that rehearsed right through the week of camp. He was the lead in James and the Giant Peach, and he was not going to be allowed to miss a full week’s rehearsals.

So, he’d go to camp for two days, come home overnight (allowing for two rehearsals), and then return.

I’d fetch him.

The camp was situated in Hocking Hills, Southern Ohio’s little patch of Appalachia. For an awful lot of Ohioans, the word “Appalachia” conjures images of serene rolling hills, green and peaceful valleys, a restful vacation spot. But for those of us who log too many hours watching horror films, it means something entirely different.

So it wasn’t visions of sugarplums filling my head as I took the Grandview School bus driver’s directions in hand and set off to fetch Riley in time for rehearsal.

As a rule, I dislike any road that lacks the common decency to bedeck itself with streetlights. Sure, this trip into the holler back in the pre-GPS days took place in broad daylight, but that matters not.

It’s not just the dark that I hate.

It’s this type of street – invariably flanked by fields or forest or some other overwhelming, claustrophobic presence of nature where anyone or anything can hide and watch and wait and play a banjo.

Little did I know as I started off that late spring morn that the bus driver who’d written my directions prefers a scenic route.

I would later learn that a good old, reliable highway runs directly from Columbus to Hocking Hills. But I didn’t know that yet, so I was stuck with Bussy’s rural landscape map.

I followed one country road after another rural route and then back across the sticks when, without warning, the road closed. There was no detour, nary a two-story building in the town where the thoroughfare ended, and I had very few bars left on my cell phone.

I pulled into an abandoned Blockbuster Video parking lot and called the school. Time and bars were wasted as the school secretary found me a phone number for the camp, which I dialed promptly. It rang and rang without end.

Why was no one answering?

I called George, who jumped online to google map me up a new route. I could have turned around and looked for the highway, but I was so far away from Columbus by this point that he thought we should try to find a detour that put me back on Bussy’s route.

George began directing, but my brain filled with flies and wax at all these unmarked turns being recommended.

I wrote down his directions, but I panicked.

I called the camp again. Ring, ring, ring, ring….

Panic, panic, panic, panic….

I tried to push the image of a 4th-grade camp overrun with bears or hillbillies or hillbilly bears out of my brain and decided to walk into the intersection to get some thoughts from the cop directing traffic.

“Ma’am, you can’t just walk out here.”

“Yes, I know. I’m lost.”

“I can’t help you right now,” he told me, arms waving rhythmically so this pick-up truck or that would know who had the right of way at the construction-handicapped intersection.

“Right. But here’s the thing. I have to pick my son up from camp, and the only directions I have say I need to stay on this closed road for another few miles, until it crosses 97. Do you know another route to 97?”

He did not know, but he guessed that if I took the next rural route and drove a while, I might be able to find a country road that cut back across to this closed road before it intersected with 97.

Guessing, meandering, wandering, and hoping are not things I am prepared to do on rural routes.

I would rather be eaten alive by sharks.

I called George back, who, taking my own crippling handicaps into consideration (it’s kind of surprising I am legally allowed on the road, really, given that most of Ohio is rural), said the best thing to do was just turn around, come almost all the way back to Columbus, and then take I71 to Athens county, where I could stop at a gas station to determine the whereabouts of the camp.

I felt sure I’d seen that movie, too, but I love me some highway, so I did it.

I won’t say things went smoothly once I hit Athens County, or that I was in my most sound and socially adjusted mind when I found the camp and collected my boy, but the mission was accomplished and James made it to his Giant Peach on time.

The Screening Room: Back to the Future

Click HERE to join The Screening Room Podcast, where we hash out our thoughts on Blade Runner 2049, The Mountain Between Us, and what’s new in home entertainment – The Survivalist, A Ghost Story, Pirates of the Caribbean: Dead Men Tell No Tales, and Goon 2.

Strangers on a Plane

The Mountain Between Us

by George Wolf

The Mountain Between Us is the type of film that wants to reach us by watching two wary characters slowly reach each other. Through talented actors, it wants to speak softly but cut deep.

Well, it nails the talented actors part.

Kate Winslet is Alex, who’s getting married tomorrow in Denver. Idris Elba is Ben, a neurosurgeon who’s also headed to Denver to perform delicate surgery on a ten-year-old. Problem is, they’re both in Idaho and all the flights are canceled due to weather.

They team up to charter a private plane from Walter (Beau Bridges), a local pilot with a lovable pooch, but when he suffers a stroke not long after takeoff, two strangers and a dog are left alone in the snow-covered mountains.

Screenwriters J. Miles Goodloe and Chris Weitz adapt Charles Martin’s novel with enough contrivance and melodrama to render Goodloe’s credit on a Nicholas Sparks film (The Best of Me) anything but surprising.

Director Hany Abu- Assad (Omar) serves up some majestic scenery and a nifty crash sequence, but settles for Sparks meets Castaway. Somehow, Winslet and Elba get us invested throughout the convenient, telegraphed plot turns. It is their seasoned talent and effortless likeability that ultimately saves the film from becoming a complete eye-rolling travesty.

Skin Trade

Blade Runner 2049

by Hope Madden

Who’s ready to go back to the future?

No gigawatts necessary. With Blade Runner 2049, director Denis Villeneuve returns us to the hulking, rain-streaked metropolis of another generation’s LA. We ride with K (Ryan Gosling), a blade runner charged, as always, with tracking down rogue replicants and retiring them.

Things get more complicated this time around.

Gosling’s the perfect choice to play dutiful sad sack LAPD blade runner K. Few actors can be simultaneously expressionless and expressive, but Gosling’s blank slate face and long distance stare seem to say something mournful, defeated and rebellious without giving anything away.

It’s no spoiler to mention that Harrison Ford returns. He’s a welcome presence, and not simply for nostalgia. The film toys with the “is he or isn’t he?” debate that has raged for 35 years, and gives the veteran ample opportunity to contribute.

God complexes, sentience and existence, clones – Ridley Scott saw his own longtime preoccupations playing out in Philip K. Dick’s prose and now, with returning screenwriter Hampton Fancher and new teammate Michael Green (Logan), Villeneuve gets his chance.

Their take is engrossing, satisfying and impressive, though the group stumbles over a few of their ideas—particularly those that consider the female in this particular universe.

As enamored of the original as we are, Villeneuve weaves intoxicating threads and callbacks throughout—most welcome is Hans Zimmer’s periodic moaning and sighing echoes of Vangelis’s original score.

In fact, the echoes from the Ridley Scott (now executive producing) ‘82 classic almost threaten to overrun the film. There are plenty of differences, though.

Villeneuve carves out a much larger corner of author Phillip K. Dick’s universe—not quite taking us off-world, but far beyond the teeming streets, towering buildings and oppressive rain of Scott’s retro-futuristic noir. The expansive story fills the screen with breathtaking frames and immediately iconic imagery, thanks in large part to acclaimed cinematographer Roger Deakins, at the top of his game.

Few if any have delivered the kind of crumbling, dilapidating futurescape Ridley Scott gave us with his original. But between the stunning visual experience and meticulous sound design, Blade Runner 2049 offers an immersive experience perfectly suited to its fantasy.

Picking at ideas of love among the soulless, of souls among the manmade, of unicorns versus sheep, Villeneuve channels Dick by way of Scott as well as a bit of James Cameron and more than a little Spike Jonze. There’s even a splash of Dickens in there.

Sounds like a hot mess, but damn if it doesn’t work.

I Don’t Want to Go Out – Week of September 30

Two of the best and most criminally underseen films of the summer are now available for your home viewing pleasure. Watch them! And also, there are a couple we think you might want to skip.

For the full review, click the film title below.

A Ghost Story

Survivalist

(DVD/BR)

Pirates of the Caribbean: Dead Men Tell No Tales


https://www.youtube.com/watch?v=1xo3af_6_Jk

Goon: Last of the Enforcers

(DVD/BR)

Do Not Stop in Willits

Welcome to Willits

by Alex Edeburn

In their debut feature, Trevor and Tim Ryan welcome us to the backwoods of Northern California where the weed, meth and aliens are bountiful and the yokels are creepy. The town of Willits—known as the Gateway to the Redwoods—attracts a young group of hikers looking to enjoy a weekend in the woods, who only get lost and spend the night near a cabin shared by a pair of strung-out conspiracy theorists.

Brock (Bill Sage) and Peggy (Sabina Gadeki) believe aliens are after the powerful batch of crystal meth the two have been cooking and smoking. “Emerald Ice,” as the locals call it, brings on intense hallucinations, exposing the user to the nefarious creatures visiting Earth, and in some cases, inhabiting human bodies.

Brock has no other option than to stand his ground and fend off the aliens he can only see through meth-tinted glasses. This proves problematic for our unsuspecting hikers when they eventually find themselves in Brock’s crosshairs.

The comedy of the film mainly relies on lazy stoner-humor courtesy of Possum, played by Rory Culkin. A Willits local who tags along with the hikers, Possum also provides the explanation for the UFO sightings and other spooky happenings around the town. Except his “explanation” is more of a half-assed paraphrasing of an Ancient Aliens episode.

The central question of the film: Does “Emerald Ice” actually expose the hidden truth about aliens, or are these visions part of a drug-induced psychosis? The narrative attempts to answer this by setting characters on a collision course with butchery. It’s a nice idea that just doesn’t work out since scenes with lost hikers or a homicidal Brock are too short for us to feel invested.

Given the cavalcade of circumstances, the premise seems promising for a science-fiction/horror romp. But the lack of tension and careless writing cripple a film that could have been frightening and fun.

If you’re looking for something with scares and laughs, try watching conspiracy theories on YouTube before watching this movie.

https://www.youtube.com/watch?v=BvhOiwnh5zA

Plane Crazy

American Made

by George Wolf

In the late 1970s, Barry Seal traded in his gig as a TWA pilot for something more colorful. What began as missions taking aerial photographs of “enemies of democracy” in Central America turned into money laundering, arming the Contras, and cocaine smuggling for Pablo Escobar and the Medellin cartel. Among other things.

Seal’s is a resume that stands out, and American Made tells his story with just enough charm and swagger to keep it from being totally bogged down in the swamp of exposition necessary to sort it all out.

Much of that charm belongs to Tom Cruise, digging into a role perfectly suited to that roguish charisma he can deliver on autopilot. Whether keeping his CIA boss (an excellent Domhnall Gleeson) in the dark about his side hustles, spoiling his family with cash or buddying up to murderous drug lords, Cruise effortlessly carries the film.

Director Doug Liman (Edge of Tomorrow, Go, Swingers) brings the swagger, surrounding his star with enough lively pacing and entertaining presentation to avoid the usual trappings of Cruise vanity projects.

Landing somewhere between Wolf of War Street and War Dogs, American Made is a film that certainly could have dug for a deeper message, but delivers plenty of fun while it romps in the shallow end.

 

Separation Anxiety

Super Dark Times

by Hope Madden

Super Dark Times opens ominously enough: a broken schoolroom window, a trail of blood running through empty classrooms and into a cafeteria. Though the outcome is not what you may expect, it sets an eerie stage for the 90s-set coming of age thriller.

Zach (Owen Campbell) and Josh (Charlie Tahan) are best friends, not yet driving, not yet dating, not yet determined if they are permanently dorks or just “awkward stage” dorks. They both like Allison (Elizabeth Cappuccino), both tolerate Daryl (Max Talisman).

Thanks in large part to a weirdly believable cast, writing that dances past clichés and confident direction, Super Dark Times creates the kind of charming but clumsy authenticity rarely seen in a coming-of-age indie.

Eighties high school flicks, mainly of the John Hughes variety, focused on right- versus wrong-side-of-the-tracks, popularity and the pressures parents can put on us. That is to say, they focused in most ways on the same worries that had plagued adolescent-focused films since the Fifties.

Contemporary films dealing with high schoolers require the ubiquitous presence of social media. But there is a particular darkness that entered the global consciousness about adolescents in the 90s, and Super Dark Times tries to tap that, using it to color the tone of its nostalgia and cusp-of-adulthood energy.

Kevin Phillips, making his feature debut, leans on his experience as a cinematographer to ensure the film looks as appealing and authentically nostalgic-90s-coming-of-age as possible. Writers Ben Collins and Luke Piotrowski are unafraid to drop contextual clues without burdening characters with too much backstory, just to go on to upend expectations now and again to keep you on your toes.

Super Dark Times develops a thriller atmosphere fueled by the paranoid, confused logic of an adolescent. It’s all a fascinating and realistic journey—until it isn’t.

At a certain point in Super Dark Times, the film settles. It becomes something it didn’t have to become—like the teen who’s cool to hang onto that Subway job when he really needs to ditch town and make something of himself.

It’s an enormous credit to Philips and his young cast that this unnecessary cop-out doesn’t ruin the film. Together they have drawn so much investment in these characters and their futures that you can’t help but stay tuned and attentive.

But they could have done more.

Anyone For Tennis?

Battle of the Sexes

by George Wolf

A fight for equality playing out inside sports arenas. Sound familiar? Battle of the Sexes isn’t just an effortlessly engaging piece of entertainment, it’s a compelling reminder that the sporting world has long been intertwined with the social and political movements of the day.

In 1973, Billie Jean King was 29 years old and the leading name in women’s tennis. Bobby Riggs was a 55 year-old former champion who missed the spotlight. As the “women’s lib” movement grew, they met for three sets of tennis that was watched by ninety million people.

Directors Jonathan Dayton and Valerie Faris (Little Miss Sunshine, Ruby Sparks) choose wisely in running the soul of the film through King. Bolstered by Emma Stone’s gracefully layered performance, the film’s emotional connection comes from King’s dueling inner conflicts: the responsibility of carrying the women’s game forward and her growing attraction to the tour hairdresser (an excellent Andrea Riseborough).

A taut script from the Oscar-winning Simon Beaufoy finds marks that often speak directly to today’s “stick to sports” crowd. In one particularly biting scene, a defiant King argues for equal prize money on the women’s circuit, telling the condescending director of the tour (Bill Pullman) that he’s a constant gentleman “until we want a bit of what you’ve got.”

As he was in the actual ’73 event, Riggs is the film’s camera-loving ringmaster, a born huckster who tells a recovery group they don’t need to stop gambling – they just need to get better at it. Steve Carell nails the role, and not just because he has the look and the attitude. In the quieter moments away from the cheering crowds, Carell gives us a faded star in search of purpose, finding the authenticity that Riggs leaned on to remain endearing.

The period details are just right and, thanks to some nifty work by two athletic body doubles, so is the tennis. Faulting only with some fleeting moments of flippancy, Battle of the Sexes wins by serving up both a crowd-pleasing spectacle and the human drama than ultimately made it so much more.

 

 

Hope Madden and George Wolf … get it?