Mute

[3 stars]

Mute is not a feel-good romp nor even what could be termed a fun distraction. Its roots are in films like Blade Runner, but without the history to support it. However, it has its own sort of magnetic pull thanks to director and co-writer Duncan Jones’s (Warcraft) efforts in this noirish confection.

The film unfolds at Jones’s typical laconic, but compelling, pace. The story and genre aspects aren’t entirely right, but it is consistent in its approach which allows it to work. And Jones’s nod to his previous release, Moon, is both subtle and amusing… it took me a few minutes to even realize what I’d just seen. Nods like that, which also fit into the world that has been built, you have to respect.

Most dystopian stories are about overthrowing the status quo so that sanity and justice can reign. Not this tale. This dark story is small and intimate against the background of the greater darkness of a totally screwed-up world that looks all-to-familiar. Mute also takes time weaving its its multi-threaded story into whole cloth. And then it heads down a corridor that almost ends on one of the darkest moments I’ve witnessed (we’re talking Oldboy dark). Fortunately it goes beyond that to get to someplace more palatable, but still not what one would really call happy.

The main dance is between a near silent Alexander Skarsgård (The Legend of Tarzan) and a hyper-juiced Paul Rudd (The Fundamentals of Caring). Their paths intersect over and over, eventually pulling them into the same story. Around these two are a bevy of odd characters. Justin Theroux (The Girl on the Train) as Rudd’s sidekick is creepy if not entirely believable. And Robert Sheehan (Geostorm) gets to totally tear it up with his outlandish character, but still manages to give him a bit of heart. Just a bit. I was also surprised to spot Dominic Monaghan (The Day) and Noel Clarke (Star Trek Into Darkness) in a couple of smaller and nastier roles.

This movie had a long road to screen. That it landed on the little screen rather than the large is probably for the best. While it has visual scope, it definitely would have had a narrow audience appeal. However, the restrictions of theatrical release may have also forced Jones to tighten up his final cut a bit as well; sort of a dual sword. The story-telling and conceits of the result, particularly the unique blending of cultures he works with, make this an interesting couple hours. Just don’t go in depressed or angry as this will only feed that spiral.

I enjoy Jones’s willingness to try new things and difficult story lines, and to tell them at his own pace. His opus definitely isn’t for everyone, but there is a talent there that is still developing and one worth watching. He got great a great performance out of Skarsgård and took Rudd some places I’ve not seen him do…and even managed to guide him to just enough humanity to pay off the plot. If you like Jones’s previous work, you should give this your time. If you haven’t yet discovered Jones, you can try this, but you might want to start with Moon and decide if his style jibes with yours first.

Mute

Den of Thieves

[2.75 stars]

When the writer of London Has Fallen, Christian Gudegast, decided to write, direct, and produce this bit of caper-violence, I didn’t hold out much hope despite its surprisingly good reception on release. The result is mixed. It is either hyper-realistic, like The Departed without the careful control, or slow and boring with little understanding of pacing, depending on your point of view and likes. On its side, Gudegast really tries to create characters with depth on all sides rather than cardboard cutouts. The problem is that there isn’t a single likable character in the tale and it is clear from early on where the story going to end up, at least it was for me.

The two sides are led by Gerard Butler (Geostorm) and Pablo Schreiber (American Gods). Both are powerful actors and each brings some levels to these fairly flat characters. They each have a crew of misfits and some have families, but no one really stands out as anything special.

The plot is very much in the spirit of Oceans 11 (remake or the original) and Logan Lucky, though without the humor. In fact, the characters lead lives of fairly obvious desperation.  The plan is clever and the cat-and-mouse game with the police is intriguing. However, much of the police part lacks credibility and the final heist is a bit unexplained and unseen. Regarding the latter, it isn’t that you can’t guess what happened, but a few shots are missing to make it clear.

Overall, this will appeal to those who like dark and violent crime stories with exceedingly flawed characters. It isn’t so much a tragedy as it is a clusterf@*# on all sides. For Gudegast’s first time directing, it is an impressive show of juggling, and his script is better than some of his previous, but it isn’t a high recommendation. Basically, this is a distraction for the right audience, but it isn’t something that will demand rewatches to appreciate any nuance that may have been missed.

Den of Thieves

Gloria (2013)

[4 stars]

Even when a movie like this one earns your attention and trust you aren’t always sure it’s working until the final moments. By the end, however, it most definitely pays off; in fact, the final moments are transcendent for the character and the audience.

The success of the final scene is worth the entire movie to get to…and wouldn’t work without what comes before. Paulina García’s (Narcos) subtle performance holds you and endears you to her over time. And, it must be said, she is certainly helped along in the finale by the 80s hit that shares the same title. (As a side-note, there is a fascinating history to the song and its lyrics and why you may not recognize the translation.) Without question, this is García’s film. While Sergio Hernández certainly gives her something to work off of, she controls the story and screen from start to finish.

Gloria is a quiet film of discovery and life for its main character. The tale is interesting, but not provocative. Like Finding Your Feet, it allows the information to seep out and inform over time. We travel with Gloria through a critical period of her life, starting 12 years after her divorce. It is clear that, up till now, she had drifted through life’s events, shifting directions as they sent her. We aren’t really sure where she’ll end up nor whether anything is going to change as we see her wake up to that reality; the tension of that question and the accessibility of her character pull you along to the end.

Director and co-writer Sebastián Lelio’s (A Fantastic Woman) love of the character and his trust in the material and in the audience is wonderful. He is expert at showing us what we need, and nothing more, while helping us celebrate his characters, flaws and all. You would be excused for not seeing how well its working till the end; but the final scene makes it clear how undeniably good his craft is and why, even with a small opus, he has so many awards nominations and wins. Make time to celebrate Gloria at some point, and keep an eye on Lelio. He is clearly a talent to watch with many more tales to tell.

Gloria

Avengers: Infinity War

[4 stars]

Just: Holy S*%#!

If you were ever worried that Marvel was over taking risks or didn’t have a game plan, this should settle it for you. But avoid all information before you go, if you can. The chance for spoilers is just too high.

We’ve seen all these folks before (me, very recently having rewatched it all)  so I’m not going to take up 1000s of pixels to list the actors and characters.

However, Josh Brolin’s (No Country for Old Men) Thanos does deserve to be mentioned. He, with the help of Makus and McFeely’s script, created a complex villain who, believably, doesn’t think of himself that way. He’s still totally nuts, but what a nice surprise in a world where things are too often black and white to help make it easy on audiences.

I have no idea if this is the film that was planned 10 years ago, but it certainly brings it all together. And in the first five minutes you’ll know you’re into something different. I also have to admit, some of the CG is really subpar (at least on IMAX), which was surprising.

What comes next as Phase Three heads to its final conclusion? Well, I have my guesses…and I’m sure you will too. Thankfully it is only year off till we find out if we’re right (and with a couple films to fill that gap in between).

Avengers: Infinity War

MCU: From the Beginning and Before the Ending

In prep for Avengers: Infinity War, I decided to rewatch the entire sequence from its 2008 beginnings. Why? Well, first: Why not? This audacious sequence of films has pulled off something no one has even come close to producing, except Lord of the Rings. During the course of 18 films over 10 years Marvel has woven a story together with the goal of paying it off in film 19. They found great actors to tell great stories about flawed heroes; heroes we recognized ourselves in.

And with the exception of one of those films, they were all solid and well done. And the one that wasn’t so great, well, it still has my respect because unlike Sony’s flailing at the Spidey universe, it woke them up to the fact that they had to produce quality if they wanted to succeed. They never stumbled again, though certainly the movies had differing impacts and approaches. And the clues and nods are just incredible to see when you know everything that is to come. As we get ready to leave the Joss Whedon era, who really set the template for this cycle, you have to wonder if anyone would have the guts and talent to try this again.

If you want to rewatch it all yourself, do it over at least three weeks. I squeezed this into less than two weeks at two or three films a day. Fun, but exhausting.

So here we go, in brief, through the dots that brought us here.

Phase One (though we didn’t know that for sure until Thor)

Iron Man is still a surprisingly effective movie. My original write-up is lost, but I still am amazed at how it subverted the comic genre on screen by being a real movie. We got to know and care about Tony Stark, despite his ego, or perhaps because of it. He was flawed but engaging. The world was believable and intriguing. It had humor and action and, above all, a really good script and acting. This wasn’t done with a nod and a wink, it was done to do it well and it showed, launching the huge franchise we are celebrating this year. Sure, the ending was a bit overblown and the villain a bit too teeth-gnashy, but the series would learn as it went along.

The Incredible Hulk is already a second bite at the apple at this character (third if you include Bixby’s series), but it does an interesting job of not disavowing Ang Lee and Eric Bana’s take by bridging from it to the this new version during the credits. It is substantially more comic book style than Iron Man and still struggles with its villains and finale. However, it is an important piece in the Avengers puzzle. It introduces the Super Soldier program, something lost on me till now, and it provides an important pivot for David Banner. This more morose and pouty Hulk has to leave his past behind and accept who he is to become the Ruffalo version.  Sure that comment is a bit revisionist, but you get to do that when you see it after knowing where it will go. It isn’t a great film, but it continued the character-driven approach Marvel wanted and gave us hope they had some real sense of what they had…the tag with Tony and the General sealed the deal on it.

We all would like to forget that Iron Man 2 existed. It was rushed to screen and just doesn’t have the same polish as what had come before. But it is easy to forget that it also introduced Black Widow, got Pepper and Tony together, shifted Tony’s attitude, queued up Captain America with a couple nods, and continued Phil Coulson’s involvement. Having watched this the day after Rampage, however, I can confidently point out that while it may be just an action flick, it is still better than most of the similar tripe being produced even if it isn’t up to the MCU standards by any stretch. However, it also put the fear of god into Disney/Marvel/Kevin Feige. They never tried for a pure money grab again, knowing that they had to meet the expectations of their audience or risk losing it all. Here we are almost 19 films later because they learned their lesson.

Thor is where the MCU really started to hit its stride, understanding what they had and where they intended to go. It is the first 3D. It is the first to push the comedy throughout. It introduced the first Infinity Stone. And it tagged the end with a mention of The Avengers. Thor was always the one hero that worried me because it was off-realm gods and magic. How do you make that mainstream and believable next to human heroes (even if they’ve been mutated huge and green)? But they did it, and managed to launch Brannagh’s career as a director of huge films to boot. They also took an existing god and gave him an origin story by making him mortal-ish for a good part of the film. Its one misstep, though it worked for the story, was Portman’s Jane, who they had to disappear to keep things going in subsequent films.

Captain America: The First Avenger. Hail Hydra! Where Thor had nailed the stride of the humor, Cap nailed the format of the MCU journey. The movie had its own style, reflective of its time period,ss and set up everything that was to come through Civil War (and a couple of TV spin offs as well). Despite the CG of Rogers never looking quite right at the beginning, it was still an effective and smart choice. And the ending manages to give us both action and pathos in a way that made it a great story as well as a solid action flick.

Marvel’s The Avengers redefined the term “big” when it came to films. Its non-stop action and coalescing storyline still amaze. It is full of character and some of the best moments yet to grace the series (then and now: Puny God!). It is the first taste of what Joss and Feige had planned for a much bigger feast and it certainly whet the appetite and proved they could pull off something no one else had even tried. And damn if they didn’t get you to feel the passing(ish) of a minor character with a great scene. Oh, and of course our first glimpse of Thanos.

Phase Two

Pivoting into Phase Two, Iron Man 3 kicked off a sequence that could best be termed: Consequences. Unexpectedly, if sometimes ham-handedly, it took on some serious matters like PTSD. It did so with humor and action, though it went a little off the rails in its blithe quippiness, Christmas theme, and kids. We know this world now, and with IR3 and Phase 2 , we’re getting a new sense of the characters, watching necessary doubt creep in this middle stretch of the sequence. It wasn’t what a lot of folks wanted, but it was fascinating and, again, necessary to build the platform that eventually becomes Ultron and Civil War. And, despite any of its weaknesses, it still is incredibly entertaining and rewatchable.

Thor: The Dark World has an odd flavor of political intrigue, but intrigue that has been in motion for quite a while. It also introduces the next Infinity Stone, but you could blink and miss that aspect if you didn’t know what you were looking for. In retrospect it is clear and sets up the Collector as well, who has his own role to play. It is full of humor and action, and it does advance some of the characters, but it feels a bit outside the Phase in some ways.

Captain America: The Winter Soldier takes a huge and brave leap for such a big sequence. It irrevocably changes the face and structure of the world, setting up Phase Three as well as impacting the spin-off series. Certainly there is a lot of character work here shimmed in between the action, and new characters who will continue forward. And, if you needed any other sense of how far ahead the crew plan, we also get our first mention of Doctor Strange in a throwaway interrogation…a hint that wouldn’t pay off for another five movies.

And now for something completely different; Guardians of the Galaxy. This romp, while still very much in the MCU, was a welcome break from what we knew and a huge expansion of characters to play with. Yes, it is a bit silly at times, especially how quickly the Guardians all bond, but the humor is fun and the action is great. There really is something for everyone in this branch of the universe, as well as laying out the mysteries to grow on and our first real interaction with an Infinity Stone.

All damaged characters, enter here: Avengers: Age of Ultron. This marked the end of the Joss Whedon era, and perhaps not on quite as high a note as he would have wanted. This story rewatches better than it played initially, though. It is a very psychologically complex tale with a lot of layered construction and cultural nods. It also has the trademark Whedon dialogue throughout, and the brilliant choice of Spader as Ultron. Also, this is the first direct mention of Wakanda and the tee-up for Black Panther. When you realize that this is the culmination of 10 previous films and the setup for the next eight (or 11 if you go through the full Phase Three sequence), the threads Whedon wove, and the guidance to get there, is going to be tough to match. Also, it’s worth noting that they were again willing to take the risk of pivoting to new characters and big changes, with more yet to come to keep it both fresh and, let’s face it, affordable.

Ant-Man gets a little absurd, admittedly, but maintains the connections and thread of the universe. And it’s a universe that can sustain a lot of different styles. That alone is something of note. Each movie, or perhaps better considered, each character has a particular sensibility that shapes the movies they are in. Be it the earnestness of Capt. America or the nuttiness of the Guardians or the comic book silliness of Ant-Man, each style supports the sense of the stories they are in. Ant-Man is fun and amusing, and uses its tech relatively well…at least within the confines of a PG rated film. That said, Ant-Man is the movie that feels the most out of place in the collection so far, even more than Guardians. I think that is because it is such a familiar world, but the action and dialogue are very broad in comparison.

Phase Three

Where Ultron showed the cracks in the friendships and group, in Captain America: Civil War it all goes to hell, launching the third phase through a moment of crisis and uncertainty. This installment is really more like Avengers 3 than a Captain America, but the schism formed here will surely come back to roost in a few films. For now, however, it serves more to break up the gang, redeem Bucky, and launch Black Panther. It is also the first of the films to show real fallout from the carnage that the heroes inflict upon the world trying to save it. The world’s reaction is eerily apropos current politics as well.

Forgetting that the medical scenes in Doctor Strange were just, well, absurd, the rest of it was really pretty fun visually, in action and dialogue. Where else could a cape become a character? And while it feels rather on its own in the universe for most of the tale, other than some throw-away side comments, by the end it is solidly ensconced in the larger tale leaving only a single Infinity Stone unaccounted for.

Guardians of the Galaxy Vol. 2 tries a bit too hard to be bigger and better than its first iteration. The fact that is has the highest number of tags at the end of the film is symptomatic of that as well. However, some questions get answered, some necessary information was layered in, and the action is huge. Fortunately, the humor continues unabated as well. As romps go, it was a hoot, if not as unexpected now that we’ve seen these characters and have a sense of them. It does cement the Guardians as a self-selected family and has given them a purpose that will aim them squarely at Infinity War, even if some of the moments were a little forced. Also, the two Guardian movies make the best use of 3D in the MCU (at least so far). Or at least make the most conscious use of it. They do have an advantage being in space and all, but really it is more about the director thinking about the presentation from the outset and throughout the story.

Spider-Man: Homecoming was a wonderful surprise entering into the MCU. And with Marvel guiding the Sony franchise, it has been reinvigorated and morphed into something both new and closer to the original material. Whether Sony will respect that input and collaboration and stick with it remains to be seen (and rumors on the street are that they won’t). Still we’ll get at least a couple more appearances of Spidey over the next few years and we’ll get to watch him grow-up in reality and in his role as a superhero.

Meanwhile, back in Asgard… Thor: Ragnarok brings about a few necessary aspects of plot and relationship, but it is generally just a good romp. While it is mostly just a pause before the finale that is coming, it does also take make some radical changes, declared right in the title. How that will play out, other than with some additional fighters to tackle Thanos, we’ll find out soon. But as a film it is a weird, anachronistic, pastiche of Waititi’s humor and the MCU ethos. Great fun, to be sure, but definitely one of the oddest of the films in the sequence in terms of how the bits clash at times.

Black Panther surprised me by not being as good for rewatching as I’d expected. It still is fun, and a great new world to explore, but it is not the action film it feels like the first time through and had even weaker character motivations than I had recalled. And, on seeing it again, it is the political message that rings through it like a gong. Not that it was subtle the first time, but after you know the story, it is that aspect that clearly drives and shapes it all. By the end, though, all the pieces are in place for Thanos and one heck of a showdown. What will be very interesting is seeing where they take Wakanda and the very real issues raised in Panther’s launch.

And now, on to Infinity War… and then probably the longest coda and shift ever conceived (2 years and 3 movies) with Ant-Man and the Wasp, Captain Marvel, and what was originally Infinity War part 2 (as conceived by Whedon). Where MCU goes at that point is a matter of much conjecture and very little information, but these last films should give us a good sense of the direction.

Finding Your Feet

[3.5 stars]

Yes, another tale of late-life discovery and rebirth. But it does it well, with humor, and with a hell of a cast.

The story is led by the incomparable Imelda Staunton (Pride) and Celia Imrie (The Second Best Exotic Marigold Hotel) as a pair of estranged sisters reconnecting after more than a decade. The two work brilliantly together both emotionally and with their timing. Imrie’s world is full of other characters that spur Staunton’s rediscovery of herself and life. Chief among these are Joanna Lumley (Me Before You) and David Hayman (Macbeth) as the core of her group along with the most unlikely of the cast: Timothy Spall (Denial). Spall has often carried stories, but rarely, as in this case, as the romantic male lead. Not your typical choice, and yet he manages a sweet magnetism and vulnerability that makes it all work.

The script for this life and aging adventure was from a pair of writers: first-timer Meg Leonard and the more-heeled Nick Moorcroft (Burke & Hare). But as fun as the film is, it falls prey to taking a couple simple “outs” with the plot rather than working toward their goal in a more challenging way. Honestly, it was a bit of a shame as the scope of the story across age, love, and loss was pretty sweeping; perhaps a little too sweeping given how they solved the problems. But, they still manage to land the moments and the point, even if a few of the paths were far too generic and obvious from the get-go.

Regardless of any weaknesses or clichè in the script, Richard Loncraine (Richard III) directed the story with a sure and powerful hand, controlling the leaps in time and emotional evolution well. The story borders on broad comedy, but has just enough of a tinge of bitterness and embarrassment to feel real during the most challenging moments. It is also unafraid to quietly feel pain at its rawest.

As a tale and reminder that life doesn’t end until it does, this is a great couple of hours. It is for the romantic, at whatever age, and the time invested is worth it just to get to the final frame.

Finding Your Feet

I Feel Pretty

[3 stars]

Sure, this is exactly what you expect it to be…though, actually, it’s probably a bit better. Despite over-reaching a few times on the humor it still manages to be effective. Frankly, I was surprised as I’m not a fan of self-deprecating, broad humor based on silly or stupid choices. But Amy Schumer (Seeking a Friend for the End of the World) manages to pull it off by embodying the fears and insecurities (and ultimately the egos) we all have. Yes, this is directed at women, heck you even get to hear the film pitch in the climax, but the message is pretty much universal.

While Schumer’s personality and delivery make this work, it is only because first-time directing and long-time writing duo, Abby Kohn and Marc Silverstein, knew when to pull back and reset the boundaries. Their script is passable, but their control of the acting and the pace keep you there. And though this deals with some adult subjects, it really does stick to its PG-13 intent without losing its impact.

Opposite Schumer are a few roles that serve a grounding purpose. Yes, there are her friends played by Aidy Bryant and Busy Philipps with rather obvious and surfacey efforts. But it was more Lauren Hutton and Michelle Williams (The Greatest Showman) that gave her something to bounce off of. Williams, despite an inconsistent, if very funny, portrayal creates an hysterical character of insecurities and depth. Sadly, it doesn’t get paid off as completely as you’d like, but doing so would have delayed the the ending. What these two women manage in their short scenes is still very entertaining and pivotal to the story.

There is actually something in this flick for men as well. Rory Scovel’s (Those Who Can’t) non-traditional character helps mirror Schumer’s for men. That is highlighted by Tom Hopper (Merlin), whose not-quite-nere-do-well role is almost throwaway, except for his moment of catalyst related to Scovel’s.

There is nothing surprising in the plot of this film. It is pure entertainment with a message. And the message is simple, but rather important these days. It is actually a great delivery mechanism for anyone doubting themselves in just about any way. And, yeah, it’s a bit of amusing distraction as well. Whether you see it now or the small screen, when you’re looking for this kind of humor, you won’t be disappointed.

I Feel Pretty

Proud Mary

[2.5 stars]

Coming on the heels of Atomic Blonde and John Wick 2, this movie felt like it had a lot to prove. It wasn’t helped by the miss-promotion of it as a kissing cousin to Jackie Brown. But it really isn’t any of these. The reality is that it owes more to the 1980  classic Gloria. In fact, one of the co-writers, Steve Antin, even worked on the 1999 remake of Gloria. And Gloria, of course, was also reflected of the equally classic Léon: The Professional. But Proud Mary is a pale reflection of all of these because it isn’t really anything on its own.

The heart of the issue is that Proud Mary relies on a single thing to sell it: all women want to have kids. Taraji P. Henson (Hidden Figures) is better than that, but I can understand why she took the role despite its weaknesses. How often do you get to drive a Maserati and play action hero? But the films from which it takes its roots got around the parenthood issues by removing that from the equation. Gloria and Léon were drawn into  protecting their wards by circumstance, not desire. It is the struggle of them finding a human connection again that drives the stories. It isn’t that they want to be parents, it is that they want to be human.

Proud Mary does attempt to set up the reasoning for Henson’s path, but we don’t really see any transition from guilt to love, though there is lip service to that being the case. Of course, director Babak Najafi (London Has Fallen) isn’t the most subtle or capable of guides, though he gets a great sense of 70s films at the outset of the movie. But, frankly, if that’s what you’re looking for, just rewatch Jackie Brown.

So basically, yes, skip this unless you have a real jonesing for Henson or Danny Glover…because though Jahi Di’Allo Winston (Everything Sucks!) does a fantastic job as the young man, the rest of the film and the performances are really pretty mediocre at best.

Proud Mary

Birdboy: The Forgotten Children (Psiconautas, los niños olvidados)

[3 stars]

A surreal romp about finding hope in hopelessness. At least that’s what I took away from it this viewing. Pedro Rivero and
Alberto Vázquez (with additional help from Stephanie Sheh [Your Name.] and Joe Deasy) give us a landscape that borders on Bakshi’s Wizards: post-apocalyptic, mutated, venal, self-absorbed, and still focused on the value of the past rather than providing life for the future.

The main characters are children; children who are trying to survive and find purpose in a broken world. Somehow that part of the story feels very contemporary in terms of the feelings and challenges if not the specific events and issues. The overall plot echos the global trend toward migration, economic disparity, and the ecological disaster that is picking up steam with every year. But this is less warning than it is the (merest) suggestion that there is a solution if we can just hold on to what makes life worthwhile and control the darkest parts of our own selves. It makes for a pretty packed 76 minutes.

For the animation alone, this film is worth it. It isn’t grand, highly CGI’d animation, rather it is a reflection of its graphic novel roots. It is simple, but effective. The result is fascinating, inventive, and gripping at times. It refuses to blink from horror, but also often twists it to something of beauty or potential beauty. If you like the craft and enjoy challenging animation, this is worth your time.

Furlough

[2.5 stars]

There are many things that can draw you to a movie. On rare occasions, such as this one, it is the cast alone. With billing for Melissa Leo (The Equalizer) , Anna Paquin (Bellevue), Whoopi Goldberg, and Tessa Thompson (Annihilation) I wanted to see how that bucket of talent came together. The answer is that it sort of doesn’t. Leo and Thompson drive the story and do play well off each other. However, though Leo makes a credible inmate, Thompson doesn’t really strike the figure of a credible prison guard. And while you can suspend disbelief for chunks of time, it crumbles again and again due to her decisions and actions.

To be fair, the choices are more on Surgatz’s script, which is a bit forced and not particularly believable. But a larger, more imposing woman may have worked better. Even had Thompson brought her angst-ridden Valkyrie persona to bear from Thor, I don’t think she could have dominated Leo’s personality nor made us believe the plot.

Another missed opportunity was Whoopi. She is lost in this tale, there more for cheap comic relief than real impact. Of the cast, Paquin probably has the best role. It is small, but rich in unspoken emotion. A lot of groundwork from Leo and Thompson goes into that moment to pay it off, but it still Paquin that gets to take it away.

The faults in this movie are really more with the material than the actors. Collyer’s (SherryBaby) direction helps them to some good moments, but overall it never really sustains itself nor finds a rhythm. It wants to be a road movie with kooky side-stories that mound up into a tale of redemption and moving forward for Leo and Thompson. Instead, what we get is vignettes with some funny moments and some some touching moments, but no feeling of fulfillment at the end. I can’t really recommend the movie, but if you like the actors enough, you may find it fills an evening.

Furlough

Art, writing, life explained… or at least commented upon…