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Outtakes

Dream Scenario

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Shudderbugs

by Rachel Willis

The ability to dream of things that happened or will happen is part of the family mythology that permeates writer/director (and star), Johanna Putnam’s film, Shudderbugs.

As we learn from Sam (Putnam), shudderbugs was what her mother, Eliza, called the eerie premonitions and feelings that allowed her to know when something was going to happen. After Eliza’s death, Sam begins having these same feelings as she explores what happened to her mom.

Grief, and the whys that surround death, are the main focus of Putnam’s quiet, contemplative film. We learn through a slow unfolding that Eliza’s death was unexpected. A visit with Sam for her birthday was big on Eliza’s mind, as we see reminders throughout the house of the expected visit.

The first inkling that something isn’t quite right occurs when Sam can’t find her mother’s dog. Then, the neighbor acts very strangely. The results from her mother’s autopsy require further tests. Sam’s suspicions grow as she uncovers new pieces of information while spending several days in her mother’s rural house.

The setting of Putnam’s film, upstate New York, speaks to tranquility. The gorgeous surroundings make it hard to feel that something is amiss, but there are moments that unnerve: sounds from inside the creaky old house, dolls set up in cribs and highchairs around the garage attic, and the neighbor who is wonderfully “off.” It’s hard not to be sucked in to the mystery, especially as Sam starts to experience her own shudderbugs.

The film starts off very strong, but it never quite pulls off the sense of dread that’s expected with such unusual circumstance. Sam carries the vast majority of the film. Unfortunately, Putnam’s talents are far better behind the camera. Her acting is fine, but not the caliber needed for such a quiet character study.

However, for all the weaknesses, the film’s strengths are far more engaging. The writing is exceptional, and the unsettling questions that surround an unexpected death lend themselves well to the film. While there are some moments that stumble, the overall experience is worth the time.

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Diamond Life

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Eephus

by George Wolf

Any serious baseball fan knows what comes with that first chill of the fall. If you’re lucky, your favorite team may be playing for a few more weeks. But even so, it won’t be long before – as former MLB commissioner Bart Giamatti so eloquently put it – “the days are all twilight, when you need (baseball) the most, it stops.”

For the men at the heart of the wonderfully nostalgic Eephus, those twilight days have turned into years, and they suddenly find themselves desperately clinging to the last few moments of boyhood joy.

It’s mid-October in a small New Hampshire town, and rec league teams are assembling to wrap up the season at Soldiers Field. Some bellies are a bit larger, some fastballs are a bit slower, but the cracks are as wise as ever and the love of the game has never wavered. And though what bleachers there are will be nearly empty, Franny (Cliff Blake) will be keeping the scorebook as usual, and there may even be fireworks after the final out.

Because next year, local development will bulldoze the field, and these players may have to accept a future without that diamond life.

Director/co-writer (and veteran cinematographer) Carson Lund finds the emotional pull that exists in the space between an enduring game and the souls forced to let it move on without them. The ensemble cast (including legendary MLB free spirt Bill “Spaceman” Lee on hand to perfectly illustrate the titular type of pitch) is authentic and eccentric in equal measure, and anyone who has ever spent time around the ballfield will recognize these people, and the simpler way of life that may also be slipping away.

Lund’s writing is warm and witty, with a sense of pace that is unhurried, perfectly reflecting the one American team sport without a time clock. And at the end of the film’s single day, when the league’s last game goes into extra innings and darkness falls, the cool night air is heavy with metaphor and meaning.

Another great baseball movie reminded us that “This field, this game, is a part of our past.” Beautiful.

But what if you could hold on to those last minutes of the present just a little bit longer – even if you eat dirt just trying to beat out a weak grounder to third? Eephus conjures up enough romantic notions to spur a trip down to the basement looking for the old ball and glove.

Just be sure to warm up first. You’re not a kid anymore, you know.

Outtakes

Fish On

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Tarpon

by George Wolf

So this documentary is about fishing? And writing? It’s set in 1970s Key West? And features original music by a pre-superstardom Jimmy Buffett?

Holy schnikes, Tarpon, where have you been hiding all my life?

It’s been out there like the titular trophy fish, never officially released but gaining a cult following among writers and fishing guides since its production in 1973. Then two years ago, the short film All That Is Sacred (available on YouTube) used Tarpon clips and more recent interviews with Buffett, writers Tom McGuane and Jim Harrison and others to dig into the Bohemian, artistic lifestyle of their youth.

Now, Tarpon finally gets its official release, and an absolutely beautiful restoration that serves as a pristine time capsule to a lost world.

In bewitching cinema vérité style, directors Guy de la Valdene and Christian Odasso take us to the boats, beaches, and bars that formed a local Keys lifeblood, and fueled a creative spirit that eventually brought Buffett, McGuane, Harrison, and Richard Brautigan both popularity and critical acclaim.

The Key West Conch Train driver serves as a wonderfully organic tour guide, popping in with bits of context as the film casually drifts among the local eccentrics, creatives and fishermen (word of warning: there are scenes of brutality to unwanted sharks in the day’s catch).

At only 53 minutes, Tarpon‘s intoxicating spell is one you’ll wish lasted a bit longer. But after all these years of waiting, even a little of this magic is enough.

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Princess Problem Solver

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Snow White

by George Wolf

Death, taxes…Disney live action remakes?

We may not be there quite yet, but the train keeps rolling with Snow White, an update that’s consistently appealing enough to rise above an unsteady opening and one unfortunate choice.

Much of that winning appeal comes from a terrific Rachel Zegler, who commands the title role with confidence and zest. Pairing Zegler with a well-cast Gal Gadot as the Evil Queen, the film dives into their royal power struggle and finds a nice sweet spot between honoring a classic and nudging it toward new sensibilities.

That new attitude starts right from the “Once Upon a Time” prologue, where we get a new inspiration for the name Show White, and a quick look inside a wholesome upbringing that focused on the common good.

Her stepmother’s attitude toward power is especially timely, and the Magic Mirror (in great voice thanks to Patrick Page) is quick to point out that beauty can be more than what’s seen in a simple reflection.

Once Snow White is grown, with her royal father out of sight and her wicked stepmother on the throne, Director Marc Webb (500 Days of Summer, The Amazing Spider-Man 1 and 2) and screenwriter Erin Cressida Wilson (Secretary, Chloe, The Girl on the Train) give us a princess who is still in peril, but is not content to wait around for a handsome prince to save her and her kingdom.

In fact, there’s no handsome prince in sight. Oh, sure, she’s attracted to the rouge-ish peasant Jonathan (Andrew Burnap), but this Snow White’s not about to stay home with the dwarfs while he does all the heroic adventuring.

We’ll get to those dwarfs in a minute.

Songwriters Benj Pasek and Justin Paul provide original tunes, and while the style they brought to The Greatest Showman, Spirited, and Dear Evan Hansen will be instantly familiar, the songs here showcase the talent, bolster the narrative, and add a little new Disney magic.

Zegler soars on “Waiting on a Wish,” and Gadot – in her best turn since Wonder Woman – seems positively giddy to vamp it up on “All Is Fair,” the Evil Queen’s defiant ode to evildoing. Burnap and Zegler both have fun with “Princess Problems,” a tongue-in-cheek framing of privilege and stereotypes, but their audience of dwarfs only calls more attention the film’s nagging question.

This is a live action remake, correct? So why are the dwarfs not played by live actors? The CGI results seem to point to an attempt at making them look as much like the original cartoon characters as possible, which is curious at best. Much of the film is committed to a new vision, how did this tired one get through?

The CGI animals I get – they’re cute – but man these dwarfs become such an albatross it’s even more impressive that Snow White manages to charm despite them, and the few too many opening minutes spent on exposition.

But it does, and Disney’s live action scorecard earns one in the ‘plus’ column.

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Kids Are Great, Aren’t They?

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The Assessment

by Hope Madden

Director Fleur Fortune’s feature debut delivers an effective gut punch of a sleight of hand. What feels for quite a while like a near-spoof on our collective unpreparedness for parenting morphs slowly into something entirely else. Something more sinister, more human, and alarmingly likely.

In a post-dystopian future where scientists have created an ageless but sterile dome world, it’s necessary to apply and be assessed for parenthood. Because, since no one dies anymore, and it was the strain on resources that caused the dystopia in the first place, children are not grown outside the uterus for just anybody.

But Mia (Elizabeth Olsen) and Aaryan (Himesh Patel) are ready, they’re sure of it. They just have to convince their assessor, Virginia (Alicia Vikander).

Fortune’s career up to now has involved a lot of music videos and perfume advertisements, work that’s sharpened her instincts for image. The shot making in The Assessment is often stunning, but it also informs the story. There are no voiceovers or news flashes to catch you up on the dystopia, who caused what, why we are where we are. But you don’t lose track of it because of how organically Fortune fits this story in this environment with these characters.

Everything serves a purpose—each costume, dinner guest, glance and line of dialog—but none of it feels forced or false. The delicate balance created in the early going, a balance the assessor destroys with manipulated childlike chaos, is thanks to meticulous direction and performances.

The three leads shine, none of them blameless and yet all forgivable. Because the chaos wrought in the film becomes more and more dire as the honest-to-god strain of this kind of world slowly, authentically reveals itself.

The Assessment’s resolution unfortunately feels less sincere, landing far more obviously than the preceding scenes. There’s a predetermined tidiness that flies in the face of the disarming chaos that came before.

It’s a small criticism of an insightful, frightening look at where our future may take us.

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Moon in Her Eye

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Hood Witch

by Hope Madden

Thou shalt not suffer a witch to live. It’s a popular sentence in the Old Testament, one used to excuse a lot of needless suffering, mainly women’s. It’s not the only spot in the Bible that condemns sorcery, divination and what not. Jesus never mentioned it, though. (He never said anything about women being submissive to their husbands, either.)

Islam is no more forgiving, and Nour (Golshifteh Farahani, Paterson) is about to run afoul of keepers of both faiths and keepers of none in Hood Witch.

Co-writer/director Saïd Belktibia examines the muddy difference between a religion’s acceptable magic and harmful witchcraft. However similar the practice, the differentiator seems to be based primarily on whether a woman benefits.

Nour makes a living smuggling exotic animals into Paris, mainly to be used in rituals of healing. Newly divorced and struggling financially to raise her son Amine (Amine Zariouhi), Nour is in the development stages of a new app that will link users to a variety of different healers.

Nour knows it’s all smoke and mirrors. Her impressionable son is not so sure. Her abusive ex (Jérémy Ferrari, sinister) is willing to believe, as long as it’s a man of religion wielding the mirror and blowing the smoke, and as long as it’s his ex-wife who suffers.

Though Hood Witch is far more a drama/thriller than an outright horror film, it does follow a longstanding genre tradition of using witchcraft to point out religions’ hypocrisy and misogyny. But the filmmaker goes further, complicating characters by implicating capitalism as being equally dangerous—particularly to the desperate and easily manipulated—as religion.

Farahani delivers a fierce, passionate performance full of rage, compassion and vulnerability. Nour is sharp and not without a conscience, but when tragedy strikes it’s because of her meddling. The consequences, though, are deeply unsettling.

Belktibia’s pacing and framing match Nour’s panic, and it’s impossible not to panic along with her.  Hood Witch is a tough watch, as misogyny and apathy play out in the film the same way they play out every miserable day, infecting each generation like a poison. The rage that fuels Nour and the film is what feels most relatable.

“People think I’m possessed by the devil. I think I’m just angry.”

There are unexplored ideas and mixed messages that keep Hood Witch from becoming a great film, but it’s an angry, observant thriller and solid reflection of the time.

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Thirsty Americans, Crooked Cops & Politicians

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The Alto Knights

by Hope Madden

What Barry Levinson, working from a script by Goodfellas and Casino writer Nicholas Pileggi, has done is made a historical recap of a true American gangster tale enlivened by the gimmick of two De Niros. Because, obviously, one sure way to draw attention to your gangster picture is to cast Robert De Niro. Casting him twice? Ba da bing!

De Niro plays the aging version of two childhood buddies, Vito Genovese and Frank Costello. Vito’s a loose canon psychopath. Frank’s a smooth operator, a diplomat. And though it was really Vito who was in charge of the five boroughs, it was Frank who brought things together in peace and prosperity while his friend was in exile waiting out a double murder rap.

But now Vito’s back and he wants all he believes he has coming to him, and he lacks the patience to wait on Frank’s charity.

De Niro’s Frank also narrates the story from a place of retired peace, which keeps him on the screen even more (not a bad choice) but leeches any real tension from the adventure. But a shoot-em-up thriller is not what Levinson’s after. His goal is to showcase the machinations and counter moves of two very different criminal minds.

De Niro’s Frank Costello performance is understated, almost affable and he shares a lived-in chemistry with onscreen partner Debra Messing as wife, Bobbie. His Vito is a fun riff on Joe Pesci—less explosive, but stewing with the same idiosyncrasies, insecurities and wise cracks.

The surrounding ensemble (including two actors doing Columbus, Ohio proud—Todd Covert and Brian Spangler) impresses, carving out memorable characters, often with limited and highly populated screen time.

It’s a capably made, solid movie but there’s not much to distinguish it from a lot of other gangster pictures except that  you get two times the star power from the actor who continues to prove he’s America’s greatest onscreen gangster.

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Unstable for Days

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Locked

by George Wolf

The first English language remake (third overall) of the 2019 Argentinian thriller 4×4, Locked streamlines the vigilante festivities for a fairly generic teaming of one veteran trope and one new favorite.

Tech cautionary tales are all the rage, and thrillers have been car-centric back to at least Duel and Race With the Devil in the 70s. So, when the desperate Eddie (Bill Skarsgård) breaks into a luxury sedan, he quickly finds himself at the mercy of one vengeful Dr. William (Anthony Hopkins) and the latest in auto security gadgets.

Director David Yarovesky and screenwriter Michael Arlen Ross soften Eddie’s edges from the start. Yes, he’s a f*&kup, but he’s got a cute young daughter and really wants to do better for her, right?

William isn’t moved. He’s got his own agenda, and it starts with giving Eddie a painful tour around his pimped-out ride. Eddie’s locked into the steel reinforced frame, the car is soundproofed and polarized, the seats are equipped with tasers, the glass is bulletproof, the heat and AC can be pushed to lethal levels, all while William probes and taunts Eddie via a call on the in-dash display.

The conversations tell us much about William and Eddie, and a little too much about the film’s message of classism and wealth inequality. What’s worse, when William disconnects, and Eddie is free to explore the car for weaknesses, he conveniently talks to himself so we can be let in on his thought process.

Yarovesky (Brightburn) has some success making the single setting visually interesting, faring better with the action opportunities that come from William deciding the put the car in “drive” and enact some vehicular justice against any suspected criminals.

Skarsgård tries his best to give Eddie some needed depth, and Hopkins seems delighted to get cartoonishly villainous. But Locked can never develop the psychological engagement of 2013’s auto mystery Locke or the clever thrills of Trunk: Locked In from just two years ago.

And most surprisingly, it pulls punches from its own source material, settling for a surface level morality play without the shades of grey that almost always leave a more lasting impression.