Like Cutie and the Boxer, this is a documentary about art, but it is much more about the politics of art and the artist’s life. Kusama has had a fascinating and challenging life. All of which has led to her impetus for creation, but not necessarily a penchant for happiness. She is also probably one of the more important artists of the modern movement that you may not have heard of, or at the least, understood her place in art history. (I know I didn’t before seeing this portrait of her life.)
Kusama’s art is challenging and, often as not, may leave you scratching your head. But the results of her efforts and ideas had profound impact on art you do know. I imagine that is a large part of why Heather Lenz was drawn to this story as her first directing feature. It is epic in scope and also a disturbing example sexism and racism, and it is has demonstrable historical importance. Though, it should be noted that that Kusama is still alive and producing and having sell-out shows around the globe.
As a movie, it is oddly constructed, but it also didn’t have an obvious path for the telling. Lenz jumps back and forth in Kusama’s life to provide context and a sense of her influences. It makes for some jarring moments, but told purely chronologically it would have been less interesting. Given Kusama’s art, the more gestalt approach to her story is probably appropriate. And, at less than 90 minutes, it isn’t a large investment for a glimpse inside an fascinating mind and a clearer understanding of many aspects of the modern art movement.
Sometimes it is nice to dig out a classic you’ve missed. I recently did that with Iprcress. It is very much out of date at this point, but with some amusing moments and a rather young Michael Caine (Sherlock Gnomes). Ipcress released the year before Caine’s breakout in Alfie (1966), which really launched him on the international stage.
The plot of this flick isn’t very surprising, though it is all carried off with a quiet English humor and a staid set of reactions. It feels like a weak version of The Manchurian Candidate, which released a few years earlier. However the wry humor is an unexpected aspect to it all. It isn’t Kingsman funny, but it is somewhere between that and Bond.
One of the things that caught me off guard was how much the opening is reflected in the series opening sequence of Dexter. Even the music is similar. As it turns out, I’m not even close to the first to realize that. Really, it is jarring how close it is.
As a film, it is diverting and is executed well, though more of an interesting curio than brilliant movie. Still, entertaining. It is also packed with a slew of talent that is no longer with us. Caine is one of the few survivors in that cast, along with director Sidney J. Furie. That Caine is still putting out quality work is what makes him one of the most working and recognizable actors of our time, and Furie continues to dabble across all genre over his equally wide ranging career.
This is a decidedly low-budget affair with moments of brilliance amidst a lot of mediocre and painful presentation. But those moments really do make the time worthwhile, as numerous festivals and the Oscars agreed.
Jorge Perugorría and Vladimir Cruz make an unlikely pairing of friends from opposite sides of the political spectrum. Cruz is a true believer in the Communist party in Cuba, while Perugorría is a bit more aware of the realities of life and politics…not to mention a gay man in a macho society. With a bit of help from the neighbor, Mirta Ibarra, the three become friends and help one another heal.
The story that plays out is more than a little forced, but the commentary and emotions that are surfaced are as applicable today as they were over 20 years ago when this film was made. The relationships that form are genuine, even if the ages of the actors and backstories for the characters are a little off. As a peek inside Cuban culture, and loving look at people generally, it is a funny and heartwarming journey as director Tomás Gutiérrez Alea’s penultimate contribution to film.
This is one of those true stories that is stranger than fiction. In the beginning of this three part drama, Ruth Wilson (The Little Stranger) loses her husband of many years, Iain Glen (Cleverman). Quickly, she discovers that he wasn’t the man she thought in work, in life, or in love. Watching her struggle with the revelations is quite a shift from her usual more overtly tough characters.
The story is mostly about her wresting the truth from those who did know and then struggling with the knowing. Primarily, that is from Fiona Shaw (Colette) and Anupam Kher (The Big Sick), who still make her work for her answers, such as they are. Keeley Hawes (The Bodyguard) and Patrick Kennedy (London Has Fallen) add some other interesting aspects to the life being revealed.
Richard Laxton helms the triptych nicely, slowly peeling layers from the mystery and the characters. It is a fascinating story, if not an entirely satisfying conclusion. But the ending isn’t the fault of the actors or story, but rather of life, if the final credits are to be believed. Ultimately, it is a reminder to consider what makes your life right and good more than it is about collusion and deception. If it were placed in a more current time, I’m not sure we’d have gotten the same story, but it somehow feels right in its period.
For the performances and the slow ride of the story, it is worthy of the time spent. At this point I’m even curious to try and dive into the real history to learn more.
Why do we watch movies? To escape? To be entertained? To learn? To see something that is able to speak for us what we are unable to voice? I imagine all of those things at different times. Sometimes, it is just to see that we’re not alone in our struggles.
What They Had is a quiet and true ensemble piece that strips back the challenge of aging parents while layering in the risks of not living your own life. I can’t say it is entertaining so much as well done and that it manages to resonate.
The cast is solid all around. Hilary Swank (Logan Lucky), Michael Shannon (Little Drummer Girl), Robert Forster (Survivor), Blythe Danner (Hearts Beat Loud), and Taissa Farmiga (The Nun) each get there time and story. Each sells what they’ve got. Danner, in particular, pulls together a full person from the shards of a life, though it takes the entire movie to get there.
For her first film, writer/director Elizabeth Chomko tackled a highly personal subject, capturing the love and pathos it brings to many families. If you’re in the mood or simply need to know that others out there struggle with these issues as well, go for it. If you want laughs or even tears, you’re not likely going to be satisfied. This is more life than drama, not that things don’t happen, nor that there aren’t emotional moments, they just are more real than heightened. That is a compliment, but it returns us to the question: what are you watching for?
Ballarat is back, but not with the Blake you’ve beloved (sorry…that was a stretch for the final “B”). Jumping ahead a few years from what had felt like a series farewell, we find a changing of the guard. There This two episode movie relaunch allows a lot of familiar faces to finally get to dominate the story rather than play second fiddle. Most obvious among these are Nadine Gardner as the abandoned/widowed(?) wife of the missing Doctor Blake, and Belinda McClory as the delightfully curmudgeonly medical examiner Alice Harvey.
Honestly, as much as I’d enjoyed the series, I’d not been writing it up as it was fun, but not noteworthy. This shift, whatever the cause, is worth calling out as it was handled smoothly and well. The result keeps the sensibility of the previous five series, but heads off in a solid new direction with new leads, while taking advantage of a new cultural era to help smooth it all over.
The future of this series is probably assured now, regardless of real-life events, though what direction it will go was left purposefully open-ended. Who knows, we may end up with an Australian update of Hart to Hart set in the 60s when all is done. Having now given these characters their due, I can’t see dialing them back in any satisfying way.
Admittedly, as a filmmaker, Pedro Almodavar (I’m So Excited) is a matter of personal taste. I happen to enjoy his dark humor and skewed vision of the world. Flower of My Secret is actually a bit more mainstream than a lot of his earlier work, though Almodavar was a great choice for adapting the Dorothy Parker short story (The Lovely Leave).
In many ways it is riffing on a theme of independence that is getting a lot of attention these days (though this is from 1995). It would live comfortably alongside another Spanish language offering, Gloria nicely, though with a very different sensibility.
Marisa Paredes (Queens) is wonderful as a grand dame lost and without a sense of her own strength, but eventually fighting to find it. Opposite her, in an unlikely role, is Juan Echanove. “Unlikely” because of his story and path, not because of the actor. Their relationship is best described as symbiotically odd. And yet, it works in Almodavar’s capable hands.
Smaller roles by Almodavar stalwarts Rossy De Palma (Broken Embraces) as Paredes’ sister and the late Chus Lampreave (Broken Embraces) as her mother bring in some needed comedy and homespun grounding. The three work together wonderfully as a dysfunctional family devoted to one another. Another actor no longer with us, Manuela Vargas, adds some other wonderful layers and moments as Paredes’ maid.
For a bit of distraction that is less bittersweet than usual, this is worth catching up with if you missed it when it came out. Almodavar never picks easy characters for us to love, but he usually wins us over to their side before the final credits and helps us see ourselves in them while he’s at it.
The movie is written by and stars Daveed Diggs (Wonder) and Rafael Casal. They’ve crafted a script that is both naturalistic and lyrical, bordering on Shakespearian at times. Diggs and Casal are also a great acting team that dominates the film with their energy and emotions. Janina Gavankar (Sleepy Hollow) and Jasmine Cephas Jones (Mistress America) have impact and each provide important sounding boards for the men and their journeys, but remain in the background.
Blindspotting isn’t the most fun ride, though it does have humor, but it is a well crafted ride with some truly unforgettable moments and a very strong message. Definitely worth your time when you’re up for their approach, which pulls no punches but which also very much loves its characters.
Much like Cube and Saw before it, this collection of crazily conceived challenges for the characters offers a lot of dark entertainment, and some nice attempts at making it all believable. As a first feature script for Schut and Melnik, there is a real attempt to create just-believable-enough scenarios and people to drive the well-worn genre and provide some unexpected moments, if not exactly surprises. Adam Robitel’s direction, as only his second feature, likewise shows some nice talent with pacing and finding emotional threads to keep it all going.
The result isn’t perfect, but it is entertaining. Nik Dodani (Atypical), in particular, gets ripped off as a character, never really becoming someone we care about. But Deborah Ann Woll (Daredevil) and Taylor Russell (Before I Fall) actually get to build quite a bit of backstory and sense of life. Logan Miller (Love, Simon) and Tyler Labine (Voltron: Legendary Defender), aren’t quite as lucky and Jay Ellis (The Game) is really just a parody. These uneven efforts work in this genre, but does make the film a bit less than it might of become.
So, if you’re a fan of these kinds of inventive evil mayhem that may or may not ever really make sense, make an appointment for the Escape Room. If you are hoping for something a bit richer and more complete, like It or some of the other more recent reinventions of horror/suspense, this is going to come up a bit short…primarily for the ending, but also because of the uneven character development.
When McFarland came out three years ago, it was seen as a movie of possibility and perseverance in the vein of Brooklyn Castle or Spare Parts. Today, with the rise of 45 to office and the rhetoric about immigrants, it has an entirely different resonance. It is, in fact, a view of society that a good part of the country needs to see to be reminded of who immigrants are, what they endure, why they came here, and how they contribute. But, to be fair, that is all subtext to the main story of young men learning to believe in themselves rather than to believe other’s opinions of them.
This is one of those perfect Kevin Costner (Hidden Figures) vehicles; a slightly curmudgeonly middle-aged man with a big heart and belief in others. There is a large and talented supporting cast as well, though Maria Bello (Prisoners) and Carlos Pratts (The Bridge) are the main standouts for the story.
Director Niki Caro (Whale Rider) sells the story in a Hallmark sort of way. The last third of the movie really diminishes its possibilities. However close to truth, it is primarily designed to manipulate, losing some of its credibility in exchange for cheap emotional punch. It still works, but it becomes very predictable and forced.
For a feel-good evening and, perhaps, education, it is worth your time. Certainly the real story deserves to be heard, however heightened the transition to screen made it.
Art, writing, life explained… or at least commented upon…