Tag Archives: Michael Dorman

New In Theaters

Their Own American Dream

Leave a comment

Hard Luck Love Song

by Rachel Willis

Working from the Todd Snider song, “Just Like Old Times,” writer/director Justin Corsbie (with co-writer Craig Ugoretz) brings the lyrics to life with his debut feature film, Hard Luck Love Song.

Basing a film on a song isn’t unheard of, but it isn’t very common either – probably for a lot of reasons. The biggest one being most story songs rely on character tropes to allow their listeners to connect to the characters. In this case, the antihero and the hooker with a heart of gold.

And even then, a film can succeed in adapting a song to the big screen if the background story and characters are fleshed out in believable ways. Unfortunately, Corsbie and Ugoretz don’t pull this off.

I find it hard to believe that in this day and age anyone could be hustled playing pool – didn’t everyone see Color of Money? But apparently, the scam still flies –because when we meet Jesse (Michael Dorman), it’s the way he makes his living. New to town, living in the Tumble Inn, Jesse is seeking to work over the locals.

There’s some slow action in the first half of the film. A pool tournament that starts as a montage begins to drag as the final three games play out between Jesse and Rollo (Dermot Mulroney). After a particularly ill-advised hustle, Jesse’s celebratory scene is indulgent and tacks on to an already slow opening act.

The story starts to pick up when an old flame (Sophia Bush) enters the picture, nearly halfway through the film. However, this is also when the movie begins to take on a different life, setting a new tone and coming closer to the meat of the song on which it’s based. If the film had continued to set a new stage in each act – treating each piece as a vignette in Jesse’s life – this may have worked. However, when elements of the first act are reintroduced into the final act, it’s jolting.

The third act is the least satisfying segment – relying heavily on stereotypes and songs to carry it along. It’s also when the film goes completely off the rails. Had the tone of the story not been so serious throughout, perhaps the conclusion could have landed more skillfully. As it is, the tonal shift is so abrupt that it feels as if we’re watching another movie altogether.

If you’re unfamiliar with Snider’s song, a live recording plays over the end credits. You’ll wonder why the filmmakers set such a serious tone when you hear Snider’s playful rendition. Perhaps if more of the song’s humor had made it into the film, the result would have been more satisfying.

New In Theaters, Slider

Feeling Seen

3 Comments

The Invisible Man

by Hope Madden and George Wolf

Leigh Whannell likes him some mad science.

Two years ago the Saw and Insidious writer found his footing as a director with the unreasonably entertaining Upgrade. In what amounted to Knight Rider as imagined by David Cronenberg, the film gave the old yin/yang concept a robotics feel thanks to the work of an evil genius.

The evil genius concept is back for Whannell’s reimagining of The Invisible Man. But the most interesting thing about this version of the old H.G. Wells tale is that the man—invisible or not—plays second fiddle.

Instead of the existential ponderings that generally underscore cinematic Invisible Man retellings, Whannell uses this story to examine sexual politics, abuse, control and agency.

It’s a laudable aim, but the reason it works is casting.

How fucking great is Elisabeth Moss?

Not just in this film—but make no mistake, she’s fantastic. Whether it’s her TV work, small bits in indies like The Square or The Kitchen, or leading film roles, she’s been brilliant in everything she’s ever done. (Last year’s Her Smell is making its cable TV rounds – watch it!)

Whannell’s script is smart, with much needed upgrades to the invisibility formula as well as the havoc wrought. There are a handful of unrealistic moments, mostly in terms of character development, but a game cast (including Aldis Hodge, Storm Reid, Harriet Dyer and Michael Dorman) consistently elevates the material.

There is also an irritatingly convenient employment of security footage: there when it suits the film, but weirdly unmentioned when it would derail the plot.

The fight choreography, on the other hand, is evenly fantastic, and these one-sided battles had to be hard to execute.

But the success of The Invisible Man is almost entirely shouldered by Moss, who nails every moment of oppressed Cecilia Kass’s arc. And early on, Moss has to sell it – pardon the pun- sight unseen. We’re only told Cecelia is abused, but Moss makes sure we never doubt that it is so.

Cecelia’s desperation, her fear, her logic, self-doubt as well as belief—all of it rings absolutely true. When you’re building a fantasy film in which one character is invisible and most actors are responding to an empty room, authenticity is key (and often very hard to come by). Moss makes it look easy.

But beyond the sci-fi and horror elements, Whannell’s success at weaving this tale through a #metoo lens comes from our total investment in Cecelia as a person first, personification of a systemic problem second. Without that, the gaslighting is less resonant and the eventual payoff less earned.

The two-hour running time does come to feel a tad bloated, but this new monster vision boasts plenty of creepy atmospherics, controlled tension and – wonder of wonders – well developed jump scares.

At its core, The Invisible Man is an entertaining B-movie horror propped up by contrivance. Whannell’s aim is to give the story new relevance, and thanks to Moss, his aim is true.