Isn’t It Romantic?

The Lovers

by George Wolf

Just who are The Lovers?

Michael and his mistress Lucy? Mary and her boyfriend Robert? Or, could it be Michael and Mary, even after all those years of marriage?

Credit writer/director Azazel Jacobs for turning the romantic dramedy inside out, weaving sly writing and touching performances into a thoroughly charming take on the resilience of love and the frustrating struggle to pin it down.

Tracy Letts and Debra Winger are both wonderful as Michael and Mary, a dispassionate husband and wife who have grown to give each other only slightly more regard than the pieces of furniture in their suburban home.

Lucy (Melora Walters) is impatiently waiting for Michael to ask for a divorce, while Robert (Aiden Gillen) is expecting the same from Mary. Both are assured the time will finally come after the upcoming visit from Michael and Mary’s son Joel (Tyler Ross).

But when an old spark is reignited, suddenly it’s the Mr. and Mrs. who are sneaking away from their side pieces for some passionate alone time.

Such a premise could easily crumble into sitcom-ready zaniness, but Jacobs isn’t mining for cheap laughs. His script does have moments of effectively dry humor, but The Lovers is just as likely to uncover truths through a heavy silence.

Both Letts and Winger effortlessly wear the weariness of their characters. We may not know exactly why they’ve drifted apart, but the actors convey such a reliable authenticity we are rooting for Michael and Mary almost immediately.

The Lovers is sneaky in its casual nature. Through subtle storytelling and stellar performances, it finds meaning in places rarely explored this effectively, and a gentle confidence that frayed emotions can still bond.

Verdict-4-0-Stars

https://www.youtube.com/watch?v=r1o-XSHgypE

Lost at Sea

Pirates of the Caribbean: Dead Men Tell No Tales

by Hope Madden

Summer is the season for amusement parks, and in that spirit Disney rolls out the closest thing cinema has to a theme park ride – Pirates of the Caribbean: Dead Men Tell No Tales.

Pros: New directors Joachim Rønning and Espen Sandberg (Kon Tiki) keep the pace tighter, the tale more seafaring and the visuals more interesting than in the last few (almost unendurable) installments.

Cons: Disney has brought the Pirates of the Caribbean franchise back.

The series began as a pretty enormous gamble, taking a popular Disneyland ride and turning it into a movie.

Brilliantly, this put the not-yet-self-indulgent talent of Gore Verbinski behind a camera, but let’s be honest, it was Johnny Depp’s Captain Jack Sparrow that made the film.

All swoozy and splishy, drunk and dodgy, hilariously rock and roll, Sparrow made all of us wish for the pirate’s life. It was fun. It was ingenious, even a bit subversive. It was nearly 15 years ago.

In the meantime, Cap’s adventures have taken on the stench of bloat.

By 2017, Depp is a has-been with a terrible drinking habit. Sure he’s still cute, but there’s something a tad pathetic about him and the consistently bad choices he makes.

As Jack Sparrow, I mean.

Obviously.

Geoffrey Rush returns as Barbosa – intriguing as always. He’s joined by Javier Bardem, arguably one of the three or four best actors working today, wasted here in an underwritten, toothless role. He plays about 2/3 of dead sea captain Salazar, blandly bent on revenge.

What – zombie pirates? Next you’ll tell me Jack’s about to be executed in a town square, or find himself stranded with crazies on a desert island. Or that there will be a pirate cameo from a classic rock star.

Oh, Paul McCartney…

The accursed Salazar wants Sparrow. Henry Turner (Brenton Thwaites) – son of Will Turner (Orlando Bloom) – wants Sparrow too, to help him find Poseidon’s Trident, which can break all the curses of the sea and save ol’ Dad.

Also there’s a young female love interest (Kaya Scodelario) – a woman of science mistaken by society as a witch. It’s a storyline that could have been interesting, I suppose, but Jeff Nathanson’s screenplay uses it to nod toward feminism while glimpsing a corset-pushed bosom.

Dead Men Tell No Tales (they do, by the way – tons of them) might seem to some an affectionate wrap up of a once-beloved and now tolerated family film series. Don’t believe it – Rønning and Sandberg are already tapped to direct Episode 6.

Can Poseidon’s Trident put an end to this franchise?

Verdict-2-0-Stars

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

Yo, Chucky!

Chuck

by George Wolf

I remember the sweaty, battered face staring at me from the cover of Sports Illustrated in 1975, a face that had taken plenty of punches, and was lining up to take more at the hands of The Greatest.

It was face of Chuck “The Bayonne Bleeder” Wepner, who was about to fight Muhammed Ali in the old Richfield Coliseum near Cleveland – then a sparkling new jewel – for the heavyweight championship and inspire a young Sly Stallone to write a screenplay about “The Italian Stallion.”

Chuck finally gets the story of the real-life Rocky on the screen, utilizing painful honesty, subtle humor and a compelling performance from Liev Schreiber to craft a touching look at hard lessons learned.

Director Philippe Falardeau (Monsieur Lazhar, The Good Lie) gets the 70s period details just right, and surrounds Wepner’s shot at the title with cinematic versions of the cliched boxer looking for his chance to be a contender, sharply illustrating how much Wepner defined all that is celebrated about life in the ring.

As Wepner claws his way to the New Jersey heavyweight championship, he watches 1962’s Requiem for a Heavyweight and longs for respect, even as he continually takes his wife (a terrific Elizabeth Moss) and daughter for granted while following his love for “wine, women and song.”

Besting all expectations, Wepner’s plan to “wear (Ali) down with my face” lasted into the 15h and final round, and he became one of the few opponents to actually knock Ali to the canvas. His increased celebrity status, and the news that the Oscar-winning Rocky was based on his life, only fueled Wepner’s primal urges and accelerated a downward spiral that included drugs, divorce, and fighting live bears.

Schreiber is transformational, adopting the voice, gait and body control of a lumbering man with a good heart and great survival instincts, but a child-like self control that often betrayed him. Schreiber commands the screen without ever being showy, blending easily with an outstanding supporting cast that includes Naomi Watts, Ron Perlman, Jim Gaffigan, Michael Rappaport and Morgan Spector (as Stallone).

Familiar in theme but illuminating with its intimacy, Chuck is a fascinating glimpse at life imitating art imitating life.

Verdict-3-5-Stars

Sexy Meddling Kids

Baywatch

by George Wolf

Did you hear about the lifeguards that fight crime?

“Wow, that sounds like a really entertaining but far-fetched TV show!”

So says Brody (Zac Efron), one of the new recruits on the super lifeguard team at Emerald Bay, and this very self-aware attitude is the main reason the big screen Baywatch works as well as it does.

Yes, the entire premise has always been a ridiculous excuse to ogle beautiful bodies, so director Seth Gordon (Horrible Bosses) wisely chooses to have some fun with that and not be stingy with the slo-mo!

Dwayne Johnson is Mitch, head of the Baywatch team and all-around King of the Beach. He’s got Stephanie (Ilfenesh Hadera) and C.J. (Kelly Rohrbach) as his veterans on the squad, while Summer (Alexandra Daddario) and Ronnie (Jon Bass) are rookies who just won their spots during open tryouts.

Then there’s Matt Brody (pinching his character name from two of the lead roles in Jaws is another clue this film’s tongue is in the right cheek), an Olympic swimmer nicknamed the “Vomit Comet” for the way his career flamed out thanks to gold medal partying.

Brody arrives thinking he’s God’s gift to Baywatch, quickly learns some humility, and joins the team just as they’ve stumbled onto another case. Could local business tycoon Victoria Leeds (Priyanka Chopra from TV’s Quantico) really be the biggest drug dealer on the beach?

And she might get away with it, too, if not for these lifeguards and their sexy meddling!

Writers Damian Shannon and Mark Swift come from the land of bad horror (Freddy vs. Jason, Friday the 13th reboot) but they’re able to tap into a witty and breezy R-rated vibe that tests some crude waters without ever diving in.

As often as the ladies flaunt buns and cleavage, Johnson and Efron’s suns out/guns out show gets even more attention, which seems only fair as their roles also have the most substance. It helps that the actors share an easy, likable chemistry and neither is above poking fun at their own image. Self-deprecation is usually endearing, and running gags involving Brody’s nicknames and a “mini-Mitch” aquarium decoration are consistent winners.

Hey, it’s summer, the perfect time for a trashy little novel to read by the pool. Baywatch fits that same bill, and ends up all the more fun for not trying to be anything else.

Verdict-3-0-Stars

 

https://www.youtube.com/watch?v=TDteZ0YrhSU

Murder on the Menu

by Christie Robb

I’ve been friends with a few vegetarians over the years who have made passionate, rational pleas for me to halt or at least cut back on my ravenous devouring of the animal kingdom.

I’ve read books and watched documentaries that explain in detail the often cruel practices that go into raising and processing my protein. And yet, to quote Pulp Fiction, “Bacon tastes good. Pork chops taste good.”

And I can’t help it, I loves me a good steak.

In the 30+ years that I’ve been a carnivore, I’ve never been directly responsible for what I’ve eaten. Delicious meats seem to appear magically.

At the grocery store, animal parts are wrapped up in pristine white paper or in glossy plastic like little delicious presents.

Despite my intellectual knowledge about where my food comes from, I still find myself fundamentally ignorant because I lack a concrete experience of when the animal becomes the meal.

So, I set myself a goal: to kill and then prepare my own dinner.

My initial plan is to bag a fish. But after a day out on the creek, I left with nothing more than a wicked sunburn. Sure, I saw some fish, but only around the marina docks…where you aren’t actually allowed to fish.

Don’t tell me that fish aren’t possessed with some sort of intelligence. These guys know how to hide.

Now, my options are limited. The bunnies in my backyard are too clever and adorable to seriously consider. So I decide to become the Grim Reaper to one of the only live animals sold regularly at the grocery store…a lobster.

The decision is both convenient and light on the guilt meter. Lobsters are tough and pointy and I figure their claws give them a fighting chance.

So I drive myself to the Clintonville Giant Eagle and nervously wheel my cart over to the fish counter.

The helpful fish guy is pretty chatty. “This one,” he said, “I named it Lefty because he was missing his right claw.”

Great, I thought. They have names.

I select two 1 ½ pounders that the guy wrangles out of the tank. To schlep them home I receive a lobster box—the same sort of box my childhood gerbils came in, except without air holes and with a recipe printed on the side.

At home I open the box, experimentally stare into the eyes of the lobster on the top, and poke it gently on the back. Its eyes retreat into its head. I shriek and shut the box.

I’ve read online that you can put lobsters in the freezer to lull them into a dormant state before killing them. Supposedly this helps dull their pain. So, I pop the box in the freezer, pour myself a glass of Sauvignon Blanc and hop on my laptop to research how to kill these beasties humanely.

I watch a few videos demonstrating the technique of splitting their heads in half before boiling. (This severs their nervous system and is apparently a much quicker path out of life than the hot tub version.)

I steel myself for the kill.

I extract the lobster box from the freezer and open it on the counter. The lobsters have shifted position. Now they seem to be hugging each other with their rubber-banded claws. The scene is full of pathos.

Placing a cutting board and a chef’s knife on the counter, I check that the water is boiling in my big stock pot. I remove lobster #1 and place it on the cutting board.

Tapping the tip of the knife at the center of its head, the lobster’s eyes again retreat, but this time less far. I hope that this indicates less sensitivity. I drag in a deep breath. This is the moment when I discover if I have what it takes.

I look into the beady little eyes of the crustacean and thank it for its service. Then, I angle the knife up and plunge it down.

My aim is bad.

Either I winced or the knife was too dull. But instead of a nice, neat slice right between the eyes, the cut is too far too the left. A third of the thing’s head is now flopping to the side, still kind of connected to the body.

I scream.

There is diluted bloody water streaming off the cutting board and onto the countertop.

“Is anything wrong?” my husband calls from the living room.

I jump up and down quietly in socked feet, flapping my arms around, the knife flinging droplets of lobster blood across the kitchen. I swallow a squeal.

“Everything is fine,” I choke out.

The lobster is starting to wiggle on the counter. Clearly it’s starting to thaw out and is probably at the very least inconvenienced by the massive head wound. My hand clenches on the knife and I approach the counter, taking careful mincing steps to avoid the lobster blood now pooling on the linoleum of the floor.

I reposition the knife. The lobster squirms in a seeming attempt to flee.

“There is no escape,” I mutter as I swing the knife down.

My next cut is cleaner and I sever its head lengthwise and throw all the lobster bits in the boiling water.

I turn to lobster #2.

“Sorry you had to see that,” I say.

“Are you talking to me?” my husband hollers.

I ignore him, trying to think my way through my next kill.

All the experts say that the clean slice through the head is the best way to go. But probably not if you botch it. I look back over my shoulder at the pot. Any more delay and I’m going to have to deal with two separate cooking times. I’m already feeling stress about having to clean up so much lobster blood.

So, I pick up lobster #2 and dump it, still wriggling, into the pot on top of the body of its mangled companion. Its legs wiggle. Its tail flexes and curls around the edge of the pot. Is it attempting to climb out? I wonder. I stab at the tail with my knife and poke it down into the pot.

Slamming the pot lid on and slumping against a section of unbefouled countertop, I realize my heart is thumping against my ribs and my hands are trembling with an excess of adrenaline.

Twelve minutes later dinner is served, bright red and steaming. As we crack open the lobsters with kitchen shears and a garlic press (not owning the correct tools) my husband turns to me and tells me I did a very good job with dinner. Then he screams when he discovers a greenish bit inside his lobster.

“Is this his guts? Is this his guts?” he asks.

I have no idea.

This dinner is tasty and somehow more real than any other dinner I’ve ever had.

I don’t think I have it in me to become a vegetarian. But I might have it in me to become a murderer.

Girl in the Plastic Bubble

Everything, Everything

by Hope Madden

One special girl + a solitary, attentive, very cute boy + contrivance that keeps them apart = every single adolescent drama made in the last decade.

Director Stella Meghie can do that math. For Everything, Everything, she works from the YA novel by Nicola Yoon, adapted for the screen by the adequate emotional manipulator J. Mills Goodloe (Best of Me, The Age of Adaline).

The film updates that Boy in a Plastic Bubble TV movie John Travolta made back in the day, here with a perky adolescent girl named Maddy (Amandla Stenberg) whose rare immune deficiency keeps her locked away inside her sterile home.

Then Dreamboat Olly (Nick Robinson) moves in next door.

Meghie and her cast deserve credit because their film has a sweet if utterly artificial charm to it. The handful of fantasy sequences set inside Maddy’s architecture models are appealing, as is the awkward and innocent chemistry between the leads.

Not one human being on earth has ever been this wholesome and adorable, but as YA lit flicks go, it could be much worse.

Tragedy looms darkly over most young adult romances – like a watered down Nicolas Sparks movie. Maddy’s ailment keeps death always in the periphery, but the film zigs when you think it will zag.

Meghie keeps almost everything restrained, which is both the film’s blessing and curse. Too often in movies of this ilk, the drama becomes so soapy as to be intolerable. Maddy’s coming-of-age choices feel more self-empowering than love struck, and her easygoing, forgiving nature keeps the tone just this side of angsty.

Thank you.

On the other hand, when the narrative takes a bizarre – almost diabolical – turn, that laid back approach feels neutered. Real rage is called for. Police intervention. A good slap, anyway.

But Meghie doesn’t indulge our lust for drama, which would be admirable if her film weren’t so bland.

Verdict-2-5-Stars

Grasping for Resurrection

Alien: Covenant

by Hope Madden and George Wolf

“Do you want to serve in heaven or reign in hell?”

That’s just one of the big, existential questions Alien: Covenant has on its mind, though there’s plenty of blood as well, for those who thought Prometheus was a bit too head-trippy.

Director Ridley Scott returns to the helm of the iconic franchise he started, proving the years have done little to erode his skills at crafting tension or delivering visceral thrills.

Covenant picks up roughly ten years after the events of Prometheus, and this many sequels in, its inevitable that the franchise would fall victim to formula: a crew, most of whom we get to know only through intercom banter, lands somewhere, picks up an alien (or several), tries to get it off the ship. Quarantine protocol is rarely followed. (It is there for a reason, people!) Folks die in a most unpleasant way.

When Scott made Alien back in ’79, he made a straight genre flick, working from a script by horror go-to Dan O’Bannon. It gave Scott a career, though he didn’t return to the horror game for more than another two decades.

Meanwhile, the franchise took the action path, devolving eventually into the modern day equivalent of Werewolf Versus the Mummy.

Scott redirected that ship in 2012 when he regained control of the series, throwing off any ugliness in the sequel universe by making a prequel – one less interested in monsters than in gods. Prometheus may have been a mixed bag, but if there’s one thing this franchise delivers, it’s a great synthetic. Hello, Michael Fassbender.

Fassbender returns in Scott’s latest, bloodiest Alien effort, and he’s a lunatic genius. Playing both David, the synthetic from Prometheus, and a newer model named Walter, Fassbender delivers weighty lines with tearful panache, becoming more colorful, layered and interesting than anything else onscreen.

Strange then, that his charismatic performance almost hurts the film.

Why? Because we’re here for the aliens!

Yes, it is tough to keep a good xenomorph fresh for eight episodes, and Scott gives it a shot with new alien forms that wade into Guillermo del Toro territory . But there are too many variations, the incubation and bursting process is too expedited, the sources are too numerous – basically, there’s too much going on here and it’s diluting the terror.

And it is terror Scott is going for. There’s more carnage in Covenant than in Scott’s previous two Alien films combined, but he hasn’t entirely thrown the existential crisis overboard. Suffice it to say that we’re lead to a crossroads where a dying species is “grasping for resurrection.”

Scott wants us to ponder those themes of death and creation while we’re running from bloodthirsty monsters. It’s not always a perfect fit, but Alien: Covenant combats the overreach with enough primal thrills to be satisfying.

Verdict-3-0-Stars

 

The Duality of Man

Buster’s Mal Heart

by Cat McAlpine

“Life’s a riddle” croons the opening song of Buster’s Mal Heart. Hoo boy, it sure is.

At the start, two shadowy figures sit in a small row boat on the open sea. Despite being the first image of writer/director Sarah Adina Smith’s existential delight, this scene is one of the final pieces of the puzzle she creates.

Looking back, the plot is simple, in its bizarre sci-fi short story kind of way. But the resulting film is not simple. The order of events has been jumbled and small interactions are dragged out only to be pumped full of paranoia.

Each moment of Smith’s film is tense, uncomfortable and absolutely lovely. The soundtrack is a character all its own, often transitioning between different covers of the same song as scenes change from one reality to the other. The camera constantly finds an interplay of light and dark, whether bare trees against a winter sky or a glowing TV in a dimly lit office.

Buster’s Mal Heart contemplates the claustrophobia of working a dead-end job inside the machine of modern society, and Rami Malek (Mr. Robot) is the perfect canvas. You can see the quiet rage within him long before he lets it slip. He plays both cautious and wildly consumed by conspiracy with equal commitments. I would’ve watched him sit at his dingy concierge desk for the whole hour and a half.

DJ Qualls (The Man in the High Castle) is not to go unmentioned either, as The Last Free Man. He delivers wild cosmic theories with enough sanity to make them sound almost plausible. And in Buster’s Mal Heart, almost plausible makes the leap to utterly real without breaking a sweat.

This film begs to be consumed as a whole, a new rarity in our distracted age. There is no moment for you to sneak out for a bathroom break or check your texts. Even shots of Buster simply vacuuming the dining room somehow feel important and are key to mood that Smith has crafted.

Imagine the universe. It is impossibly large. Infinitely large. We exist within the universe, and yet have only theories of how it works. Allow yourself to panic at this idea, to become uncomfortable. Allow your own smallness to make your heart race and your brain stutter. Think about the things you do, every day, that have no consequence at all on existence at large.

Now, before you sprint headlong into the woods, go see this movie.

Verdict-4-5-Stars

Betting on the Right Horse

Norman (The Moderate Rise and Tragic Fall of a New York Fixer)

by George Wolf

“What do you need? I’ll help you get it.”

When does Norman Oppenheimer ever sleep? He’s always there in that same coat and hat, stalking New York City for more people to connect, more circles to infiltrate, and more favors to curry.

But beyond mere social status, Norman (Richard Gere) wants to be a part of something that matters, and he thinks he’s finally found it after “betting on the right horse.” In Norman’s world, that means doing a favor for Eshel (Lior Ashkenazi-terrific), a struggling young politician, at precisely the right time.

It takes three years, but Norman’s long shot pays off when Eshel becomes Prime Minister of Israel. Suddenly, after a lifetime of exaggerating his influence and connectivity, Norman really does have a friend in a very high place.

People begin paying more attention to Norman, which isn’t always good news for his powerful friend.

Writer/director Joseph Cedar skillfully creates an utterly fascinating character who maneuvers through an equally intriguing web of politics, friendship and desperation. And Gere, as good as he’s ever been, makes it feel authentic.

Much as Bruce Dern dug deep into the lead role in Nebraska, Gere relishes his chance to flesh out a character as ripe as Norman Oppenheimer. He’s pushy, pathetic and often socially awkward, yet endearing in his tireless quest to seem worthwhile, both to others and himself.

It’s a performance that should not be forgotten come award season, and it anchors a smart, detailed film as compelling as any political thriller, yet as familiar as your last little white lie.

Verdict-4-0-Stars

 

More Coffee, Marge

David Lynch: The Art Life

by Hope Madden

Filmmaker David Lynch is nearly as enigmatic a cultural fixture as his films. Indeed, as is the case with most of his cinematic output, you might be tempted to assume that his own folksy exterior covers something dark and lurid.

The new documentary David Lynch: The Art Life does what it can to confirm that impression. While it hardly resolves anything in a concrete way, if Lynch’s art imitates the artist, then this film imitates both.

Co-directors Jon Nguyen, Rick Barnes and Olivia Neergaard-Holm recorded Lynch as he mused on childhood stories and the events that led him into the world of art and film. The audio is used to narrate footage – some recent, some archival – working together to illuminate the artist and his work. To a point.

Nguyen, who produced the doc Lynch about the making of the auteur’s 2006 film Inland Empire, has created another appropriately Lynchian film.

Once again there is a sweetness, almost innocence, about the filmmaker that feels wildly at odds with the darkness and macabre of the art we watch him create – and at the same time, seems fitting.

Much of the film is spent with Lynch in his studio as he molds, spreads and sculpts materials for art pieces. His artwork is far more immediately disturbing than his films, which tend to situate the horrifying inside a landscape of beauty. On canvas, the horror is right up front.

The work and process behind it give the film a wonderfully tactile quality and the team of directors frame and shoot the proceedings in a style Lynch himself would appreciate.

The doc takes us through Lynch’s artistically formative years and ends somewhat abruptly around the time of Eraserhead. The goal is not to document his life’s work, nor even to truly shed light on the conundrum of his particular artistry.

Instead it is a fascinating and beautifully filmed piece of what you might expect. You’ll find a lot of cigarette smoke and Coke bottles, unassuming odd-duckery and gruesome imagery.

But if you’re hoping for insight into what exactly inspires David Lynch’s fears, obsessions and grim work, be warned: The Art Life does more to continue the mystery than to solve it.

Verdict-3-5-Stars

Hope Madden and George Wolf … get it?