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Tag Archives: Daniel Baldwin
Life Is Better in the Milky Way
Mars One
by Daniel Baldwin
The latest drama from Brazilian filmmaker Gabriel Martins, Mars One, lays out the story of a family’s trials and tribulations, set against the backdrop of a fascist right-wing leader being elected to power in 2018. The Martins are a lower-middle-class family, struggling to make ends meet. Their wants, needs, and beliefs are all running in separate directions, which is a tense thing to be occurring amidst such political upheaval.
Matriarch Tercia (Rejane Faria) has become overwhelmed by the supernatural fear that she is cursed. Patriarch Wellington (Carlos Francisco) sees that, given their skin color, their only salvation for future financial security can come in the form of son Deivinho’s (Cicero Lucas) soccer skills. After all, raw sports talent often glosses over any issues with social and/or cultural standing. Problem there is that Deivinho isn’t too keen on becoming a professional athlete. His personal dreams lie not in the clouds, but above them: he wants to become an astronaut and help colonize Mars as part of the (then-)planned Mars One mission.
Then there’s daughter Eunice (Camilla Damião), who longs to leave and live elsewhere with her girlfriend, out from under the influences of her parents. All of this makes for a rather tense and chaotic environment for the family, especially when it comes to understanding one another’s differences, but it’s not a situation devoid of love. Because of this, there’s a very tender and emotional undercurrent flowing deeply through the film amidst all of the familial strife on display. The performances are all touching, even those that hail from non-professional actors.
Where Mars One trips up is when it tries to focus on each family member’s arc equally. By serving no master, the film comes up short on delivering the goods as well as it might have had one family member been the primary focus. After all, there’s only so much story that can fit into a two-hour runtime. Still, this is a moving and often relatable family drama. It’s not hard to see why it has garnered such acclaim on the festival circuit. If down-to-earth familial drama is your thing, you’ll want to check this one out.
Screening Room: Avatar: The Way of Water, If These Walls Could Sing, Utama, Onoda, High Heat
Trope-ic Thunder
Black Warrant
by Daniel Baldwin
What do you get when you make an action film that combines Tom Berenger, Cam Gigandet, the director of The Gate, and a story by actor Michael Pare? You get an undercooked terrorism-themed actioner. You get Black Warrant.
The story follows two leads: Nick (Berenger) and Anthony (Gigandet). Nick is a long-since-retired CIA assassin that’s been pulled back into the field to take out three high-profile targets in Tijuana, Mexico. Anthony is a seasoned DEA agent following a trail of breadcrumbs toward the same sinister folks in the wake of a bust gone bad.
If you’re thinking the two are eventually going to come together to take out their mutual enemies, you’re right. If you’re thinking that the film also holds a really big & silly twist, you’re also right. This is bog-standard, trope-filled stuff that is content to never rock the boat throughout on a narrative level. You’ve seen this before and you’ve seen it done better.
The good news is that, even after 20 years of working in DTV action, Tom Berenger still isn’t phoning it in. He gives Nick doses of humanity that you don’t often see in films of this type. He manages to be charming enough in the role that one doesn’t mind as much that he’s clearly too old to be playing it. One would assume that an earlier version of the project was meant to star the aforementioned Pare instead. Given that he’s a decade younger than Berenger, he might have been a better fit on an action level, although perhaps not a performance one.
Gigandet is equally engaging as Anthony, giving the film another performance that it doesn’t really deserve. The movie also gets an extra bit of swagger in the form of a cameoing Jeff Fahey. The cherry on top, however, is Helena Haro as female lead Mina. A chef pulled into the middle of all of this insanity, she is the shining beacon of light at the center of this otherwise lackluster affair. Haro is beaming with excitement and charm in almost every scene. She’s a breath of fresh air and her chemistry with Gigandet somehow manages to make their poorly-sketched romance work.
If it weren’t for the cast, the writing and pacing issues would utterly sink this. Black Warrant may not be a terrible film, but everyone involved has done better work elsewhere. DTV action die hards might find things to like, but all others should steer clear.
No Leftovers Reqired
The King of Laughter
by Daniel Baldwin
Biopics can be a crapshoot sometimes. Try to cover too much of someone’s life and the film ends up reading more like a Wikipedia entry than it does a worthwhile story. Hyperfocus on one event and you risk missing the forest for the trees. Try to be too realistic and clinical with them and you’re likely to lose your audience. Try to get too wild and you might lose them too! It’s a fine line, one that many a filmmaker has tripped on.
Much like its subject, writer/director Mario Martone’s The King of Laughter is too much. A biographical drama about late 1800s Neapolitan playwright and actor Eduardo Scarpetta, the film is largely about Scarpetta’s legal conflict with playwright Gabriele D’Annunzio , whose play The Daughter of Iorio Scarpetta parodied. Given that the film is 133 minutes long, however, it’s not just about that.
Martone manages to pack so much movie into his movie here that it feels unlikely to drive viewers to seek out more info on Eduardo Scarpetta once it ends. Much like the feeling of being overfed after a big holiday meal, odds are high that viewers exit this film feeling that they’ve more than had enough of Eduardo. This isn’t necessarily a bad thing. It simply means that, for better or worse, Martone left it all on the field here. Baz Luhrmann did something similar with Elvis earlier in the year, although this isn’t nearly as successful. It’s just all a bit too unwieldy and overstuffed for its own good.
That’s fine, however, because the true centerpiece of this work is lead actor Toni Servillo’s showstopping turn as Scarpetta. An already massively-respected, award-winning performer whom arthouse viewers might recognize from Gomorrah and/or Il Divo, Servillo is positively on fire here from start to finish, delivering what is undoubtedly one of the best performances of the year. It’s truly no wonder that this film was in contention for the Golden Lion at the Venice Film Festival only a few months back.
The movie around Servillo’s powerhouse turn is a bit too long, a bit too loud, a bit too garish, and just all around a bit too much. To paraphrase today’s kids, The King of Laughter is extra. Extra extra, even. Odds are that you already know whether or not that will appeal to you. All that aside, if you’re going to see it, Toni Servillo himself is 100% the reason to seek it out.
Someone Else’s Baggage
Bantú Mama
by Daniel Baldwin
When Bantú Mama first opens, we follow Emma (Claire Albrecht) – a French woman of African descent – as she quietly returns home on a city bus. She says hello to some neighbors, has dinner, feeds her parrot, and goes to bed. The next morning, she sets off on a vacation to the Dominican Republic, where she will spend a week relaxing at a luxurious resort.
Or so she thinks. Only a day or two into her stay, she gets a phone call. We don’t hear the other side of the conversation, but it’s clear that she’s going to be heading home early. We see her meet up with an unknown man and switch her belongings over to a different suitcase, before heading to the airport. There she is taken into custody by the authorities. The charge? Trafficking. It seems Emma is a drug mule.
Not long after, as luck would have it, Emma manages to escape custody and finds herself hiding/living in a dangerous Santo Domingo barrio with a group of children. They help care for Emma and she, in turn, helps care for them. After all, she’s not a bad person. She’s just spent her life surviving as best she can and this situation is no different. It might lack the luxury of the resort or even her previous life back home, but life is what we make of it. That said, maybe don’t go around carrying other people’s baggage? Literally, in this case.
Bantú Mama is a timely story of hardship, culture clash, compassion, and chosen family. The core performances are all compelling and refreshingly naturalistic. So too is the absolutely gorgeous cinematography, which primarily utilizes natural light. This is one of the most beautifully shot films of the year, so it’s no wonder that it is already in contention for awards season.
If the film has any major fault, it’s that it doesn’t really have a third act. There’s simply Emma’s life before the arrest and her life after it. Not every story needs to follow a traditional narrative structure, especially one like this that willfully plays around with more commercial thriller and dramatic tropes. It does, however, rob the story of some impact and staying power.
Still, this is a striking debut from filmmaker Ivan Herrera, who we should keep an eye on going forward. Ditto for cinematographer Sebastian Cabrera Chelin, who deserves some major recognition for the work on display here.
The Day the Music Lied
One Piece Film: Red
by Daniel Baldwin
What if Taylor Swift lured everyone to a huge music festival, promising to save the world with her new songs, literally through the power of music, Bill & Ted-style? Would you believe her? Would you go?
(Psst…you should say no.)
One Piece Film: Red is the fifteenth film in the One Piece franchise, which has also spanned 20 seasons of television and multiple other forms of media. It posits a world where magic exists, roving bands of superpowered pirates sail the oceans and seas, and a one-world government wields a powerful navy set on destroying them. So you can see why one might want all of the fighting to end. Enter Uta, a talent & supernaturally-gifted singer. She has a plan to save the people of the world and give birth to a new era of carefree fun. The problem is that everyone has to die first! That’s a mighty big ask.
This might be the fifteenth film in this series, but it functions pretty well as a standalone story. Viewers with a greater familiarity with the franchise might gain a deeper appreciation for what unfolds within, but the filmmakers have been careful to make everything (and everyone) make sense for novices. If you are willing to roll with a universe filled with superhero pirates, a music demon, merfolk, a talking skeleton with a sword cane, snails that double as radios, a rock & roll band staffed with manimals, portals, alternate worlds, and magic that can manifest just about anything, then you’re in for a pretty wild time.
The animation is top-notch and is full of striking imagery from start to finish. If you happen to be a fan of musicals, you’re in luck, as there are over a dozen tunes laced throughout its 2 hour running time. If there’s any real negative here, it’s that – at 40 minutes – the final battle goes on a bit too long. This is undoubtedly done to make sure that the huge cast of characters all get standout moments, but it’s a bit too overindulgent and causes the film to drag during its third act.
One Piece Film: Red isn’t the most original anime feature out there, but its delightfully chaotic world and wacky pop-rock opera apocalypse storytelling elements make for a fun ride. If you’re inclined to love this corner of cinema, you’ll have a good time with it.
Deadpan on Arrival
The Loneliest Boy in the World
by Daniel Baldwin
Oliver has had a rough go of it. He’s lived in isolation for the bulk of his life. His father has long since passed away and his mother died recently in a freak accident. If that weren’t enough, he just got out of a stint in an asylum and is likely to be headed back there if he cannot prove to his caseworkers that he can function properly on his own. In short, Oliver needs to make new human connections. He needs a friend.
So he digs a few up. Literally. Against all odds, his newfound, freshly-deceased pals come to life and attempt to help the poor boy get his life in order. If there is an answer to the question “What do you get when you throw Tim Burton, Wes Anderson, and a pinch of John Waters into a blender?”, the answer is The Loneliest Boy in the World.
An intriguing list of ingredients, no? Unfortunately, the parts are far greater than their sum. The cast is largely comprised of British characters actors, and they do their darnedest to (pardon the pun) liven things up, but the premise is stretched too thin, even at 90 minutes. Gags that might have been funny in smaller doses often become interminable and there’s an unfortunate amount of repetition at play. In the end, it feels like a script for a 30-minute short that’s been padded to triple that length.
There are some positives, however. Max Harwood is charming as our quirky lead and Tallulah Haddon is adorable as his would-be first living friend. Alex Murphy and Hammed Animashaun make for a fun pair of oddball cemetery caretakers.
Of course, the film’s greatest feature is the flashback sequence revealing the accidental death of Oliver’s mother. The event is so sweetly dark in its humor that it makes one wish the rest of the film had kept to a similar tone.
Kudos to director Martin Owen and writer Piers Ashworth for trying a new recipe. The flavor profile didn’t quite come together, but that’s always the risk when one takes wild swings. If you like quirky genre-bending comedies where undead folks watch ALF together and have heart-to-hearts with their human pal, this might still do it for you. Otherwise, you might not want to exhume this one.
Screening Room: Halloween Ends, Stars at Noon, Piggy, Rosaline & More
Unchained Melody, Unpaid Rent
Phantom Project
by Daniel Baldwin
Pablo (Juan Cano) is a struggling actor who makes his money working as a training actor for a medical program where personnel get to practice their bedside manner in a classroom setting. He had been making ends meet, but now that his roommate has bounced – still owing him a couple of months’ rent – Pablo needs to find a replacement roommate fast. In addition to this, he’s still dealing with his feelings for his ex-boyfriend, contending with a ghost(!) in his apartment, and worrying about his downstairs neighbor’s abusive relationship with her partner.
If you haven’t guessed it already, Phantom Project is a quirky slice-of-life dramedy about a 20-something living in the city who is just trying to get by while chasing his dreams of becoming a movie star. Ghost aside (we’ll get to that in a moment), this is very much your typical “walk in a young person’s troubled shoes” indie comedic drama. Even with it being a Chilean spin on the subgenre, this is pretty standard stuff. Thankfully the core performances are all charming enough to help smooth over the samey-ness of the plot.
Samey except for the ghost, that is.
There are two big bright spots in this film: Susan and the ghost. Who is Susan? She’s Pablo’s adorable dog, who knows what’s up with the haunting and seems perpetually annoyed not only by said spirit, but also by how long it takes Pablo to catch on to what is happening. The ghost itself is delivered in an intriguing way. Instead of modern FX work, we have what is an ever-morphing (even in terms of gender) hand-drawn apparition that is often up to hijinks, but occasionally wants to get frisky as well. Alas, said spirit is but one of many subplots. It would have made a better focal point, instead of an intriguing, but also jarring side story.
Phantom Project is a well-crafted slice of indie dramedy cinema that has a good cast, a great animal performer (you deserve better, Susan!), and a really cool-looking ghost in it, after all! What ultimately holds it back is an over-reliance on slice-of-life tropes and too broad a focus, along with an uneven tone. There’s an imaginative spark at its core, however. One that points toward writer/director Roberto Doveris as someone to keep your eye on going forward.
